The less public our sense of God becomes, the more personal it gets. Less defined, less understood. Almost as if in
pre-cultural times, gods of animals. More and more important...
In poetry the audience isn't essential. There's another sender/receiver: god.
(Poetics in drama)
Theatre of One always has Another, super-me, super-human, silent, unknown. Revelations, messages from god and to god.
Vertical drama. In pm world it has to be my individual line.
Prime public and the source of stories -- gods. Audience communicates with another world through stage (art, culture -- for people), stage -- through audience. I need them (public) to be heard, to get god's attention, to increase the size of the event (my payers).
The only place where religion (many) is still alive -- theatre (any performance, including tv?).
In order for them to be performers, they have to experience drama. God reads their hearts, they're the senders. Art doesn't deal with what we know, only with what we don't know.
The past and the future are not control by me; they are super-natural entities. The chance, the accident -- too many elements of my life are out off my control. Never I'll be in total control.
Communication with our own models, "imaginary" addresses. Magic is in transforming the public into performers. Since god's response isn't requested (we are answering), there's no need in
two-way communication. The story as a message to us, and from us (when the first and when is the second?)
PLAY & GAME: RESURRECTION
Resurrection is never original; life as art (second living), angelical world.
Play Idea:
Life processed and organized by my conscience. New origins of resurrected life.
Resurrection uses the original life as a material, includes it in its product.
Specifics of theatre mode of resurrection that it has no copies -- it's live!
PM in theatre (performance ideas), immediate quotations from the original. Presence of resurrection (potential) in raw life -- it exists, it has time in it.
Virtual reality technology works to bring theatre arts into light again. Technological revolution of modernity in theatre gave a birth to a director. Future electronic technology would redesign the theatre space: Spectator Directs!
SPECTATOR'S DRAMA (dramatic theory)
1. The Conflict
I as a situation. I bring my conflict with me anywhere I go. My conflict is composed of two positions/situations: I-Past and I-Future. Present is always drama. Time makes everything dramatic, because time is life = process, changes. My inner
conflict (my situation) is me, my character. When I meet Other (that is an event in old Newtonian theatre theory), my conflict (character) becomes visible. The Other is another situation which becomes mine too. Since a character is a "moving
conflict," placed into a new situation, I react -- this is a plot event. (My thought or feeling is an event in my inner
situation).
Awareness of time makes a character into a hero. We are made of what we have and what we want (which is a part of what we are). Hopes and desires make my situation dynamic. Time brings changes even if I don't ask for them. To resist this power of
time is my ontological instinct (Foucault). Even a stone resists; in physics they call it "inertia.' My past is a remembered time; it's full of conflicts too. My future is a field of potential resolutions. My conflicts lead "I" into more conflicts in order to solve my conflicts. The only cure for a conflict is another conflict.
Actualization of conflict -- conflict in space, the act.
Conflict is a dialogue between two realities: the actuality and the desire. Actuality disciplines my expectations. I am a battlefield of two powers: myself and the world.
2.
I'm the birthplace of the Gaze and the Panopticon. I watch life and I'm an "involved observer." Two natures in "I" force "Me" into a conflict: life and conscience. I'm not simply live,
I know that I live. I'm not only see life, I seek to control it. Since my conscience is nothing but knowledge, it's a power. Power breads expressions.
From a spectator to an actor:
Theatre is the extremist expression of panopticism. The space designed for action to be seen, and for me not to be noticed. What makes the prison idea so entertaining in theatre?
The three parts of the theatre space: the house, the stage and the backstage.[1]
The backstage transforms the viewer into being manipulated. I don't see everything (as in life). What I don't see makes theatrical narrative so dynamic. (As in movies, most of the time I don't see the action.)
To compress the time I have to edit the space. More time condensation -- more drama (action movies). I cut space out and the omitted spaces (what I don't see) make the control over me possible. The story is always a balance between what I know and what I don't. (Very much a symbol of life). We organize the theatre space in the three unequal in principle zones to simulate life itself.
The audience = no-space space. Stage = the empty space; visible, watchable "space of space." BS = unknown, the "other" space.
Aristotle about imitation: theatre is a negation of world. De-constructed, transformed, processed, reconstructed, etc. "Natural" links are removed, matter is surpassed. Theatre isn't real in the same sense as my perception of the world (my mind) is a phantom (reflections, another life of reality). Everything is translated in signs, messages, knowledge. Character's body is a resurrected actor's body (and should be treated this way -- training). The theatre machine make it possible. Resurrection is a collaborative effort, acting is a top of the pyramid of resurrection process. In paradise (or hell = Judgement Day as a meeting of paradise and hell) everything is meaningful. The crude life has to be cleaned throughout, everything accidental, non-essential, unimportant is out!
... updates? If you read Russian.
