It was only as an undergraduate that I began to think about the social, cultural, and political significance of theatre. Were he a novelist, his prototypical protagonist would not be a meditative wraith wandering through the hexagonal mazes of the infinite Library of Babel, but a man or woman—one glimpses the possibility in his most recent stories—with a distinctive psychology living among other men and women, acting against a background of social values, personal and national history.
None of Robbe-Grillet's novels really equals in fascination Roland Barthes' brilliant descriptions of them. Deconstructive theatre, therefore, might simultaneously use the vocabularies of conventional acting methods and styles and undermine them.
The practice also invites the spectator to search out the element that remains consistent throughout the transformations: George Steiner draws attention to the disturbing implications of the fact that, in the Nazi regime, dedication to the highest "humanistic" interests was compatible with the acceptance of systematic murder.
The artifice, moreover, should not be flatly "self-evident" but cunningly revealed, a hide-and-seek presence in the novel, a stubbornly ambiguous substratum of the whole fictional world. From this perspective, Performance Studies appears to be an articulation of the Theatre Studies paradigm, not a revolutionary new paradigm.
Thus began my life-long involvement with an art form and an academic field in which I eventually earned two graduate degrees. Queneau, of course, has written full-scale novels of flaunted artifice, both before and after Exercices de style, that do involve a more complex sense of experience.
This primitive evolution of expression from silence and immobility to movement, sound, and then the word seemed to Copeau to be the most natural progression for dramatic studies. I have never felt that my admittedly often strained allegiance to theatre is somehow compromised by the notion that it is part of a larger picture.
The concept of performance enabled me to extend my original inquiry into the nature of theatre to other forms e. In an essay that asks the question, "What Was Modernism? He hoped to develop such a universal expression by stripping from the theatre whatever he perceived to be superfluous to it, and thus rediscover its essence.
The theoretical questions that surround the performing body have long intrigued and perplexed me.
Dutton,pp. From a psychological point of view, it is reasonable to say that the idea of a universal theatre language presupposes a psychic structure such as the collective unconscious postulated by C.
The watershed event for American scholars was the presence of two competitive panels on the program of the conference of the American Theatre Association. Literature is now in the process of telling us how little it means.
Books, real and imaginary, and books about books, of course figure very prominently in Borges' fictions; but he is after all a remarkably bookish man, and the contents of a library are the aptest vehicle he could have chosen for writing about knowledge and its limits, the ambiguous relation between idea and existence, language and reality, and many of his other favorite philosophical puzzles.
If this is the moment of the self-conscious novel, that is decidedly a mixed blessing, as the spectacular unevenness of innovative fiction today would indicate.
The second-remove novelist invented by the first-person narrator-novelist gives birth to a full-grown man that is, a new character ; but while this writer, fatigued with parturition, is asleep, his characters rebel against him, resenting the roles he has assigned them. Brecht would have the actor partly withhold her presence from the character she plays in order to comment on it.
To imagine, then, the reader regulating his credulity at will is to reverse the whole process of the self-conscious novel, in which it is the writer who tries to regulate the reader's credulity, challenging him to active participation in pondering the status of fictional things, forcing him as he reads on to examine again and again the validity of his ordinary discriminations between art and life and how they interact.
The age-old impulse of the storyteller bespeaks a basic human need to imagine out of history a fictional order of fulfillment, but when the narrative is a novel and not a fairy tale, one is also made aware of the terrible persistence of history as a murderous realm of chaos constantly challenging or violating the wholeness that art can imagine.
The seriousness and the ultimate realism of the novel that mirrors itself could have no more vivid demonstration. The continuous acrobatic display of artifice in a self-conscious novel is an enlivening demonstration of human order against a background of chaos and darkness, and it is the tension between artifice and that which annihilates artifice that gives the finest self-conscious novels their urgency in the midst of play.
I think the idea is more historically accurate than the notion of a contemporary literature of exhaustion, and The Marquise Went Out at Five is a persuasive demonstration of its efficacy as a rationale for the continual renewal of literature. There are nights when the house is full, yet there is no audience before us.
It is not easy to use language for the length of a novel, out of a self-conscious awareness of its function as the medium of the fictional artifice, without in some way confronting the burden of a collective or individual past that language carries. Language is of all art media the one most thoroughly and subtly steeped in memory, both public and private.
The process of recording unconscious materials itself creates those materials, which exist only as traces in the unconscious, not as fully formed data. In particular his Chapter 8 reading of the aggressively body-centered performances of In any case, of Barth's three exemplars of the literature of exhaustion, only one, Borges, really corresponds to this description of Coover's.From Acting to Performance by Philip Auslander - From Acting to Performance Essays in Modernism and critic Philip Auslander.
Together these essays provide a From Acting to Performance is a must.
From Acting to Performance collects for the first time major essays by performance theorist and critic Philip Auslander. Together these essays provide a survey of the changes in acting and performance during the crucial transition from the ecstatic theatre of the s to the ironic postmodernism of the s.
Auslander examines performance genres ranging from theatre and dance to performance 5/5(1). From Acting to Performance collects for the first time major essays by performance theorist and critic Philip Auslander. Together these essays provide a survey of the changes in acting and performance during the crucial transition from the ecstatic theatre of the 5/5(1).
Postmodernism and Film Essay. This chapter will demonstrate the ways in which Jean Baudrillard’s and Fredric Jameson’s accounts of the postmodern have had a significant impact on the field of film studies, affecting both film theory and history - Postmodernism and Film Essay introduction.
The most influential aspects of each theorist’s work are outlined in the first two sections.
From Acting to Performance Essays in Modernism and Postmodernism Implicit in Fried’s essay is an account of postmodernism which suggests that postmodernism arose within the problematic of late modernism, not somehow “after” modernism or as the result of a rupture with modernism. From the vantage point of the s, it is clear who won.
In the context of the visual arts, Fried’s theatricality is a postmodernism threatening to an established modernism; in the context of performance, theatricality is the modernism against which an emergent postmodernism defines itself.Download