By Philip Auslander
From appearing to Performance collects for the 1st time significant essays through functionality theorist and critic Philip Auslander. jointly those essays supply a survey of the adjustments in appearing and function in the course of the an important transition from the ecstatic theatre of the Sixties to the ironic postmodernism of the Nineteen Eighties. Auslander examines functionality genres starting from theatre and dance to functionality artwork and stand-up comedy. In doing so he discusses a powerful line-up of practitioners together with Antonin Artaud, Jerzy Grotowski, Peter Brook, Willem Dafoe, the Wooster crew, Augusto Boal, Kate Bornstein, and Orlan. From appearing to Performance is a needs to for all scholars and students drawn to modern theatre and function.
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Also, when we speak the word “life,” it must be understood that it’s not a question of external facts, but of that fragile and palpi-tating center forms never touch. (Artaud 1964:18) But in Artaud’s theatre this profound amelioration is achieved through purgation, not communion: The essential theatre is like the plague, not because it is contagious but because, like the plague, it is the revelation, the foregrounding, the exteriorization of a latent depth of cruelty that enables all of the perverse possibilities of the spirit to manifest themselves in an individual or a people.
6 Artaud’s belief that theatre could express what he calls “la métaphysique” corresponds to Copeau’s efforts to reach a level of universal truth. Artaud wrote that the theatre would be worthless “unless the true theatre were able to give us a glimpse of a reality of which we now perceive only one aspect, but whose fulfillment occurs on other levels” (1964: 109). His description of the sorts of material he would have liked to present on his stage relates to Jungian archetypes: certain unusual ideas which can never be delimited or even formally depicted.
For Stanislavski, the disguise must be based on the actor’s own emotional experience; Brecht wants the disguise to be separable from the actor’s own persona and reflective of social experience. As I discussed in the previous chapter, Grotowski believes that the actor must use the disguise of her role to cut away the disguise imposed on her by socialization, and expose the most basic levels of self and psyche. Although Stanislavski, Brecht, and Grotowski all theorize the actor’s self differently, all posit the self as an autonomous foundation for acting.