Thesis research: Point-form thought-notes on relevant issues for possible reference / discussion.
•The body and gesture.
- – the animal versus a civilized or spiritual humanity.
- – the subject and the object (Wagner et al), perspectival aesthetics.
- – the concept of “regression” and “primitivity”, transgression and mysticism.
- – narrative and poesis, conceptual perception and apperception.
- – Douglas and the cultural treatment of the body reflected in societal organisation (or vice versa).
- – Brecht’s forced empathy and the human-being signified: why it was radical and how it represents a conformity, today. relates to the expectations of rationalism, but also the missing “body” and “emotions” from societal concern.
Tags: Abjection, alienation, disembodiment, embodiment, empathy, metonymy, relationality, taboo, transgression.
•The actor and performer \ character and personae.
- – mimetic deception versus perception of original authenticity; cultural preferences and prejudices.
- – modernist primitivism versus rationalism, neoclassicism through a christian lens, social darwinism and technocratic parochialism.
- – the postmodern performative turn, and the historical continuum of performativity and theatricality.
- – experiential junctures and axioms, collective witnessing / spectatorship / engagement as a participation – even in the courtly theatre (touching on Diderot and the 4th Wall).
- – Brecht’s alienation and Agamben’s “bare life” conditions, necessitating the turn. the ‘bare life’ of separateness (from belonging, collective purpose, societal protections) and what alienation has to do with it.
Tags: Alienation, bare-life, mimesis, performativity, personae, sacred, staged-performance, toward-belief, representation.
•Artaud and Battaille and the postmodernist split.
- – literality; absurdist and surrealist movements against literatured performance in favour of the spoken word.
- – the ‘benefits of regression’ versus the ‘psychological theatre’. rebellion against enlightenment philosophy and naturalism.
- – the suppression of emotion in the wake of ‘affect’. the authoritarianism of The Church lingers in the directional influence of the soul-mind; metaphysics and the Nietzschean ascension.
- – primitivism, or in actuality: immersion / proximity, spectacle and theatrical performativity. the artists relationships with their own and other bodies. note the vocabulary familiar to Buddhist and Nietzschian / Heideggerian / Husserlian literature.
- – Agamben’s ‘the ban’ in relation to the sacred/taboo. Douglas‘s dangerous margins. Sadism and fetishism.
- – Artaud’s cruelty and transgressive intentions. a contemporary transient / elusive confounding of the two and a perception of violence as subversiveness. relates to the function and dysfunctions of narcissism and social identity.
- – questions surrounding subjective and collective meanings; remembering the interpersonal and intersubjective context.
Tags: Absurdist, existential, inter-subjectivity, literality, metaphysics, narcissism, nihilism, sacred, surrealist, taboo, violence.
Topically or associatively related posts thus far: Beckett’s Word, Beckett on Film, When Transcending Necessitates Transgressing, Confounding the who and the what, ORT Notes & Vids, A Synchronous Self., Foucault On The Self, Surviving The Enlightenment, Before, Beneath, Beyond Participation (Outline Section IV).
•Disruption and familiarity as necessary identifications.
- – more adequately describe the lasting importance of these artists’ prescriptions. explain perils of adhering to a fragmented literality (ahistorical in context) rather than investigating / discussing the contextual meaning and principal intentions of the work. recalling the societal impetus behind calls for theatrical reform and the warnings against conformist dispositions; reflects an inherent value for theatricity and an intrinsic belief in the potential of the arts.
See all posts tagged “habit-disruption“.