theory
Shut Up and Give Us Art (notes in progress)
Always Choose the Worst Option: the strategy of over-identification.
Review: Nomads
Nomads, part three in an ongoing project that started in Sydney in 2006, by Hans Van den Broeck plus dancers, is exactly the sort of theatre I love, the reason why I endure hours and hours of pretty dancing, of actorly acting, of witty dialogue and realistic set design. Every time I go through a door into a dark space with seats, I hope to see something close to Nomads.
Realism
A post that slipped under my radar a near-month ago, Andrew Haydon in the Guardian theatre blog complains, with the characteristic spirit of advocacy, that mainstream Anglo-American theatre tradition remains absolutely married to the idea of literal-minded mimesis.
In itself this is not a new idea, but he relates it back to the political question of [...]
!
The stage is theological for as long as its structure, following the entirety of tradition, comports the following elements: an author-creator who, absent and from afar, is armed with a text and keeps watch over, assembles, regulated the time or the meaning of representation, letting this latter represent him as concerns what is called the [...]
notes on Japan: mono no aware
The meaning of the phrase mono no aware is complex and changed over time, but it basically refers to a “pathos” (aware) of “things” (mono), deriving from their transience. In the classic anthology of Japanese poetry from the eighth century, the Manyôshû, the feeling of aware is typically triggered by the plaintive calls of birds [...]
Jerome Bel: The Show Must Go On
the water does not intend to reflect the moon
nor does the moon intend to be reflected in the water:
how calm and serene rest Hirosawa's waters!
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18.x.2007. The Show Must Go On
Concept and direction: Jérôme Bel. DJ and Technical director: Gilles Gentner. MIAF. Playhouse at the Arts Centre. 16-18 October. Co-produced by Théâtre de la Ville, Paris; [...]
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