Performance and Theatricality The Subject Demystified表演和戏剧性主题揭秘.pdfVIP

Performance and Theatricality: The Subject Demystified Josette Féral, Terese Lyons Modern Drama, Volume 25, Number 1, Spring 1982, pp. 170-181 (Article) Published by University of Toronto Press DOI: 10.1353/mdr.1982.0036 For additional information about this article /journals/mdr/summary/v025/25.1.feral.html Access provided by Rhodes College (29 Dec 2013 14:59 GMT) Performance and Theatricality: The Subject Demystified JOSETTE FERAL Translated by Terese Lyons Depending on ones choice of experts , theatre today can be divided into two different currents which I shall emphasize here by referring to a remark of Annette Michelsons on the performing arts that strikes me as particularly relevant to my concern: There are, in the contemporary renewal ofperfonnance modes , two basic and diverging impulses which shape and animate its major innovations. The first, grounded in the idealist extensions of a Christian past, is mytbopoeic in its aspiration. eclectic in its forms, and constantly traversed by the dominant and polymorphic style which constitutes the most tenacious vestige of that past: expressionism . Its celebrants are :for theater. Artaud, Grotowski , for film, Mumau and Brakhage, and for the dance, Wigman. Graham . The second, consistently secular in its commitment to objectifica- tion, proceeds from Cubism and Constructivism; its modes are analytic and its spokesmen are: for theater, Meyerhold and Brecht, for film , Eisenstein and Snow, for dance, Cunningham and Rainer ,1 Rather than question this classification and the insufficient consideration it gives to men of the theatre like Craig or Appia , and to theatrical practices as varied as those of A . Boals guerrilla theatre, Bread