Theaterpublikum – das unbekannte Wesen. Annäherungen an eine vernachlässigte Figur

2019 ◽  
Vol 3 ◽  
pp. 14-33
Author(s):  
Doris Kolesch
Keyword(s):  
Bertolt Brecht ◽  
Antonin Artaud ◽  
The Spectator

Nicht erst mit der Performance-Kunst seit den 1960er-Jahren findet eine künstlerische Befragung der Rolle und Funktion des Publikums statt. Das gesamte 20. Jahrhundert ist in den performativen Künsten gekennzeichnet durch eine Erprobung, eine Veränderung und Hinterfragung dessen, was ein Publikum ist und was ein Publikum tun sollte oder auch nicht. So forderte schon Bertolt Brecht eine neue »Zuschaukunst«, wollte Antonin Artaud die Zuschauer_innen in »ein elektrisches Seelenbad, drin der Intellekt periodisch gehärtet wird«, tauchen und transformierte die Performance-Kunst die Zuschauer_innen zu aktiven Teilnehmer_innen und Mitspieler_innen. Diese Erkundung ist noch längst nicht abgeschlossen, wie beispielsweise aktuelle immersive Aufführungsformate zeigen. Doch trotz der praktischen wie theoretischen Relevanz, die dem Publikum im Theater des 20. und beginnenden 21. Jahrhunderts zukommt, weiß die Theaterwissenschaft relativ wenig über das Publikum und konstruieren aufführungsanalytische Ansätze häufig eine idealisierte Zuschauinstanz. Noch immer gilt mithin für die Theaterwissenschaft, was Dennis Kennedy 2009 in seiner Studie The Spectator and the Spectacle. Audiences in Modernity and Postmodernityvermerkte: Der Zuschauende sei »a pale hypothetical inference in the commentator’s imagination.« Es ist an der Zeit, Theaterwissenschaft auch als Publikumsforschung zu verstehen. Der Beitrag skizziert an ausgewählten Beispielen aus der Theater- und Performancegeschichte vom 18. bis zum 21. Jahrhundert wesentliche Veränderungen des Verhältnisses zwischen theatralem Geschehen und Publikum sowie unterschiedliche Konzepte und Praktiken theatraler Wahrnehmung. Auf dieser Grundlage werden Perspektiven einer theaterwissenschaftlichen Publikumsforschung umrissen.

scholarly journals Persona, skènè, drama : la grande transformation du théâtre et de la sociologie

2013 ◽  
pp. 97-114 ◽  
Author(s):  
Jean-François Côté
Keyword(s):  
Gertrude Stein ◽  
Bertolt Brecht ◽  
Antonin Artaud ◽  
Collège De Sociologie

Cet article présente les rapports établis entre trois écoles de sociologie et trois figures de l’avant-garde théâtrale contemporaine (Gertrude Stein et l’École de Chicago, Antonin Artaud et le Collège de sociologie, et Bertolt Brecht et l’École de Francfort). Il présente ces rapports en fonction des transformations affectant les catégories de « persona », de « skéné » et de « drama », héritées de la tradition théâtrale, mais qui ont toutes subi des redéfinitions majeures au sein de l’expérimentation théâtrale, ainsi que dans l’analyse sociologique. À travers le pragmatisme, la psychanalyse et le marxisme, ces catégories ont été respectivement redéfinies en fonction d’aires de la pratique et de la (re)présentation contemporaine, qui ont exposé la personne, le corps et l’action selon de nouvelles dispositions. Ces transformations sont à situer dans la révision des divisions catégoriques inhérentes à la philosophie hégélienne portant sur l’âme, la conscience et l’esprit, ainsi que dans le passage de la société bourgeoise moderne à la société de masse postmoderne.

Brecht’s Anti-Theatricality? Reflections on Brecht’s Place in Michael Fried’s Conceptual Framework

2017 ◽  
Vol 16 (1) ◽  
pp. 28-42 ◽  
Author(s):  
Phoebe von Held
Keyword(s):  
Conceptual Framework ◽  
Bertolt Brecht ◽  
Antonin Artaud ◽  
The Arts ◽  
Modernist Project ◽  
Theatrical Strategies

In ‘Art and Objecthood’ (1967), Michael Fried articulates an uncompromising rejection of the theatre. His critique reaches as far as to expel the theatre from the realm of the arts and excludes it from the Modernist project. However, he exempts two theatre vanguardists from his argument, Bertolt Brecht and Antonin Artaud, who in his view developed anti-theatrical strategies as part of their aspirations to reform the theatre. This article examines whether Fried’s inclusion of Brecht into his anti-theatrical paradigm was justified or whether it was mere appropriation. It furthermore probes into Fried’s category of anti-theatricality within the conceptual framework of Brecht’s dramaturgical reflections and its validity as a key marker of Modernism.

Introduction

2019 ◽  
pp. 1-32
Author(s):  
Emma Cole
Keyword(s):  
Bertolt Brecht ◽  
Reception Studies ◽  
Antonin Artaud ◽  
Diverse Range ◽  
Avant Garde ◽  
History Of ◽  
Heiner Müller

This introduction makes the case for postdramatic classical receptions to be included within reception studies scholarship. It contextualizes the overall study by providing an overview of the role of the classics within the development of postdramatic theatre and by charting the history of postdramatic classical receptions. The chapter offers an alternative to the standard teleological approach of documenting the history of postdramatic theatre, and instead suggests that the form arose from a diverse range of international theatrical experiments led by highly influential avant-garde practitioners, which gained enough notoriety and exposure to influence a range of other theatre makers. It examines Antonin Artaud, Bertolt Brecht, Richard Schechner, Tadashi Suzuki, and Heiner Müller, alongside a range of broader contextual environments, to argue that an interest in the classical underpinned the development of postdramatic theatre.

scholarly journals UM OLHAR SOBRE A INFLUÊNCIA DO ORIENTE EM ENCENADORES OCIDENTAIS DO SÉCULO XX

Cena ◽  
2016 ◽  
Author(s):  
Ariane Guerra Barros
Keyword(s):  
Bertolt Brecht ◽  
Antonin Artaud ◽  
Jerzy Grotowski

O presente artigo busca indicar influências orientais em alguns encenadores ocidentais do século XX, fazendo um levantamento de algumas características ditas orientais em métodos de atuação e encenação, sob o ponto de vista corporal. Conceituando primeiramente a denominação “Oriente”, procuro realizar uma abordagem com vistas a sinalizar pensamentos, técnicas e métodos orientais e sua influência em encenadores ocidentais, sendo estes: Constantin Stanislavski, Edward Gordon Craig, Bertolt Brecht, Antonin Artaud, Jerzy Grotowski, Eugenio Barba e Luís Otávio Burnier.

scholarly journals O sentido do teatro: contribuições para uma história cultural de programas teatrais contemporâneos

2014 ◽  
Vol 15 (28) ◽  
pp. 209-222
Author(s):  
Henrique Buarque de Gusmão
Keyword(s):  
Bertolt Brecht ◽  
Antonin Artaud ◽  
Jerzy Grotowski

Este artigo analisa algumas tensões observadas entre textos programáticos escritos por encenadores contemporâneos, tendo como ponto de partida a disputa pelo sentido do teatro. Constantin Stanislavski, Bertolt Brecht, Antonin Artaud e Jerzy Grotowski construíram sentidos de teatro de diversos modos e, no mesmo movimento, tornaram suas proposições extemporâneas ou trans-históricas. A partir dos sentidos propostos, os textos conferem lugares e funções específicos a atores, dramaturgia, cenógrafos, dentre tantas outras figuras, o que faz com que programas teatrais possam ser identificados na leitura desses materiais. Finalmente, é analisada a questão da "fronteira do teatro", presente nos textos analisados, e que marca a história do teatro contemporâneo.

scholarly journals Playwriting and dialectical thought

1983 ◽  
Author(s):  
Μαρία Γερμανού
Keyword(s):  
Historical Materialism ◽  
Bertolt Brecht ◽  
Detailed Comparison ◽  
Dialectical Materialism ◽  
Theory And Practice ◽  
Raw Material ◽  
History Plays ◽  
Representation Of Women ◽  
The Spectator ◽  
Dramatic Practice

This thesis examines the use of dialectic in the work of John Arden and Margaretta D'Arcy, Edward Bond and Steve Gooch and arguesfor the possibility of applying the philosophy of historical and dialectical , materialism and the concept of political contradiction to the construction of meaning in playwriting. Bertolt Brecht who initiated such a dramatic theory and practice is not used as a constant point of reference nor is my focus on a detailed comparison between him and the other writers. Having located his historical and dramatic limitations for present-day practice and after a critical and historical account of his reception in England, my concern is to examine how his idea of a theatre of dialectical and historical materialism was ignored, distorted, adopted and developed by these four playwrights. Conceiving theatre writing not as an innocent reflection of "objective" reality but as a conscious political and aesthetic practice capable of transforming the raw material found in life, my focus is on the ways by which this transformation takes place and on the ends it serves. To fulfill this function I examine the position that the relationship between the texts and the writers' ideological, aesthetic and political views occupies within the dominant ones. Within this context what runs through the thesis is a criticism of certain dominant ideas: that of humanism and idealism, the ideological implications of classic realism and the use of class and gender reductionism as the most recurrent drawbacks of a theatre practice which, instead of reproducing the established aesthetic, and ideological framework, aims to question it and suggest different possibilities. The criticism aims to locate the potential or the limitations of certain dramatic practices and political positions, develop them, or, when possible, suggest alternatives. On this basis the main issues I deal with concern popular and workingclass theatre, the use of character and caricature, history plays,propaganda and agitation, the representation of women, the position of the spectator and the relationships that define the theatre apparatus. As such the thesis is intended as an initial effort to build a theory for a dramatic practice concerning certain central issues that theatre workers confront when they want to use theatre as an agent of social change.

Acting

2018 ◽  
Author(s):  
Julia A. Walker
Keyword(s):  
Creative Process ◽  
Bertolt Brecht ◽  
The Self ◽  
Advanced Stage ◽  
Antonin Artaud ◽  
Psychological Realism ◽  
Konstantin Stanislavsky ◽  
Center Stage ◽  
Dramatic Text ◽  
Didactic Presentation

Acting on the modern stage ranges from the psychological realism of Konstantin Stanislavsky (1863–1938) to the sensory assault of Antonin Artaud (1896–1948) to the didactic presentation of Bertolt Brecht (1898–1956), to name only three of the best-known styles. While the range and variety of acting styles is not unique to the modern stage, the self-conscious delineation of those styles—both in relation to and as theories of representation—is. Previously, an actor’s performance—often of a well-known dramatic text—was regarded as his or her own interpretation of a role, assessed in relation to other actors’ forays in that part. But with the development of advanced stage machinery, allowing for elaborate scenic and lighting designs, acting became only one of many elements from which to make a theatrical work of art, displacing the actor from the center to the margins of the creative process. Assuming center stage were the playwright and director. The passage of an international copyright agreement in 1891 meant that playwrights could exercise more authorial control over their dramatic designs. And, in order to realize the material dimensions of such dramas in performance, the specialized position of the director emerged to coordinate the increasingly complex elements of the production. Consequently, modernist styles of acting developed in relation to the textual and directorial constraints of the newly configured modern theater.

Sentimental Conviction: Rousseau’s Apologia and the Impartial Spectator

2018 ◽  
Author(s):  
Adam Schoene
Keyword(s):  
The Self ◽  
Careful Study ◽  
Moral Sentiments ◽  
Impartial Spectator ◽  
Direct Discourse ◽  
Rhetorical Device ◽  
The Spectator ◽  
Theory Of Moral Sentiments

Where Adam Smith’s The Theory of Moral Sentiments (1759) extends the domain of spectatorship beyond the ocular realm and claims that we must become the impartial spectators of our own character and conduct, Jean-Jacques Rousseau’s Rousseau juge de Jean-Jacques, Dialogues (1776) also attempts to probe beyond the visual surface to examine through careful study the constitution of another, who is actually himself. This chapter traces a Smithian sentiment in the radical division of the self dramatized in Rousseau’s fictional autobiographical Dialogues, emphasizing Rousseau’s attempt to liberate his own gaze and render an unbiased judgment upon himself. Although Rousseau does not write in direct discourse with Smith, he applies a strikingly similar rhetorical device to the spectator within the dialogic structure of his apologia. Reading Rousseau alongside Smith resituates the Dialogues not as a work of madness, as it has frequently been interpreted, but rather as an unrelenting struggle for justice.

From Altered States to Altered Titles: A Close Analysis of the Title Sequence to Ken Russell's Altered States (1981)

2015 ◽  
Vol 12 (4) ◽  
pp. 556-571
Author(s):  
Jack Post
Keyword(s):  
Altered States ◽  
Thematic Structure ◽  
Personal Projects ◽  
Mise En Abyme ◽  
Narrative Representations ◽  
Close Analysis ◽  
Film Images ◽  
The Spectator ◽  
To Come ◽  
The Aesthetic

Although most title sequences of Ken Russell's films consist of superimpositions of a static text on film images, the elaborate title sequence to Altered States (1981) was specially designed by Richard Greenberg, who had already acquired a reputation for his innovative typography thanks to his work on Superman (1978) and Alien (1979). Greenberg continued these typographic experiments in Altered States. Although both the film and its title sequence were not personal projects for Russell, a close analysis of the title sequence reveals that it functions as a small narrative unit in its own right, facilitating the transition of the spectator from the outside world of the cinema to the inside world of filmic fiction and functioning as a prospective mise-en-abyme and matrix of all the subsequent narrative representations and sequences of the film to come. By focusing on this aspect of the film, the article indicates how the title sequence to Altered States is tightly interwoven with the aesthetic and thematic structure of the film, even though Russell himself may have had less control over its design than other parts of the film.

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