The theater is located at that point where the deficiency concerns the body expression, the presence, the experience of others, dialogue, the report face to face contact. As we evoke the virtual community, networked systems, we introduce elements of agglomeration, stimuli and signs that meet real needs, but where the answer is devoid of those elements of body, imprinting individual or group that we recognize the theater.
In the face of despair and loneliness, adrift of the subject, in a society that guarantees a flood of stimuli and signals, but then let the person become a victim of this redundancy of signs devoid of affect, in front of this , I said, are generated counterthrusts. One is the virtual community - it is worth noting that the term "virtual community" is an obvious oxymoron - the other is one that affects us as a discourse on the theater.
Which stage are we talking about? It seems to me that in the parable of a generation or two there are were within the institutions, movements, adjustments, balances with respect to pressures for change. In parallel there was also a reinvigorated rigidity of the system, which is deluded and often offer significant responses such as the Neo Baroque dramaturgy Ronconi and the radicalization of spectacle and a disturbing erosion of semantic fields capable of expressing an ethos. So there is a drain on resources, a reinvestment of these resources in a practical alternative, but in a competitive practice than spectacular imagery daily. In reality, this evolution is the mimetic habit of repeating the competitive pressures in the theater with the media. While the problem is to restore the theater as the difference and how widespread divergence from the spectacular and perverse.
The large block institutional evolution has had a quite disturbing in terms of political structures: the control of lobbyists, power equipment, short circuit between politics and culture, the possibility of such centers of power, influence and guide the new formations and then draw into the vortex also institutional marginal groups.
marginal groups, the avant-garde, all those who have or have experience of change, what they revealed? Revealed essentially a sin to have been so say the eye of the basilisk, that enchantment that is the expression of a weak thought, inability to oppose the dominant culture, with a project that really alternative, making it subordinate to the logic of power. The importance of the aesthetic and formal and, ultimately, the last excuse of the disengagement, the system has decided not to adopt a strategy and overall policy. The experiment shows that in crisi.della microphysics of power, of which each group makes its way to the bearer, this is not to be, but there. Barnun be in the great cultural institutions, efforts in the enjoyment of political and administrative centers of initiative, in that great party bands that are the White Nights, Roman nights, the summer festivals that is repeated so indecent practice of "bread and circuses." Is obscene, literally, what has to fall off the stage, sheltered from prying eyes. But today is the scene that has become, or same-scene, with no distinct lines between public and private, discreet and indiscreet, between modest and immodest. The epic of the singularity and self-sufficient closed is where you transfer the silence of the world, the delirium of desire, subjectivity abounds. The triumph of the self generates an image of the scene, her self. I do not give an assessment of an moralistic. The power-breaking everything.
(from beyond the theater of the margin, in "social entertainment", text by A. Pontremoli)
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