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Contents:
  1. Theatrocracy; or, Surviving the Break
  2. Kundrecensioner
  3. After the End: Adorno
  4. Find a copy online
  5. Download Book Theatricality as Medium Read Online by Samuel Weber - prindaretsyu

On the deeper level of the performance, a dangerous and strongly ambivalent idea appears. For Rychcik, the blackness, treated strictly as a characteristic of the body and not as an idea of the subject, was supposed to guarantee the bodily presence of the actors on the stage.

But this presence can only happen if the body itself is treated as another—different, exotic and attractive because unknown and un-understood. So the body can reach its presence if it is deprived of its political subjectivity, if it becomes a slavery existence placed on the stage for us to look at. As observed earlier, the body, confronted with technological mode of representation, is not the real body anymore.

There is no pure presence. The mediation appears then as a truly subversive and emancipatory power that saves the body, replacing it with the unfinished chain of repetitions, re-enactments and reconstructions that mark the stage as a space of action. Above all though, it is an attempt to explore the body confronted with new technologies as well as with the post-anthropocentric discourse. It does so in order to pose a question on the status of the savage-body in contemporary mass media culture, and, simultaneously, to undertake a critical review of temporality and history.

There was such a tribe. I remember. Its labyrinthine architecture — while being incredibly suggestive because of its overwhelming sense of entropy, decay and energy loss — is as ruthless and uncomfortable for the actors as for the spectators. The faintly seen and heard actors move about like shadows in the monotonous, hypnotic rhythm of the action. Often, they only allow themselves to be definitively discerned and located through the use of media and projection screens.

Here, nature does not exist without technology, nor hyperconsciousness without instinct.

Studying the ontological status of savages is, however, not an abstract pursuit, but one entrenched in history. It all comes from knowledge, which you place on this gelatinous mass right here. Through experience forming the shapes underneath the fur.

Theatrocracy; or, Surviving the Break

Their only pursuit is contemplation and free exchange, including offering up themselves and their bodies, oblivious to the concept of ownership. Here, animism takes the form of techno-animatism, where spirits, memories and the past could be made to return with the use of technology, cloning, and the network-structured reality.

The enormous Black Island has a unique presence in the production; it is a key performer, suspended above the stage and audience, moving throughout the course of the play on the basis of a precise algorithm applied to the movements of the actors and the behavior of the audience.

The fictional territory of the Savages was thus conceived as an inverted island—living, migrating and dominating the entire space, it oversaw the process of constant flow and exchange of energy.

Samuel Weber. Text, Image and Visuality. 2009 2/9

The creator of the installation explained it this way:. The island came about through my fascination with inanimate matter and its ability to self-organise.


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It offers critical commentary on the way in which white society still endeavors to control blackness — by feminizing the black body, white society objectifies and, in effect dehumanizes blackness. By choosing the Black Island as the only sign of blackness in the spectacle, by denying the inscription of race into the real body, the artists give a strong statement about the ambivalence of the bodily presence on stage. Those two ideas of the body confronted by technology on stage go in different directions. These are two models of understanding a multidimensional relation between body and media; one could be called anthropocentric and the other post-anthropocentric, offering two different philosophies of the subject.

It postulates, following Weber, that the theater be considered as a specific medium that critically comments on other media, and looks at their editing and sequencing strategies. As Weber states:. As the gerund here suggests […] such happenings never take place once and for all but are on-going. This in turn suggests that they can be neither contained within the place where they unfold nor entirely separated from it. They can be said, then, in a quite literal sense, to come to pass.

Kundrecensioner

They take place, which means in a particular place, and yet simultaneously also pass away — not simply disappear but happen somewhere else. Out of the dislocations of its repetitions emerges nothing more or less than the singularity of the theatrical event. Such theatrical singularity haunts and taunts the Western dream of self-identity. The appearance of the Other understood as non-Western subject, as body, as race, as machine, as animal, challenges that self-identity, unveiling the theater and stage as a place of constant meditation and repetition, as a shifting space of possible subversion.

Going in this direction, we would propose that the electronic media and new technologies on the stage are not really a trigger of the great change of the body status. In our opinion, they function more like a deeply critical tool that has made it possible to see and formulate a certain idea that is, in our opinion, inherent to the theater as such. The body on stage is always a medium. It never gains its true presence.

The fact that even for her there is no pure body that can be experienced confirms for us that the performance — as something radically opposite to the conservative medium of theater — is also a superficial construct. Theatricality as a status of space, time and body that are endlessly mediated and shifted, that are always not-here and not-now, that requires taking a stand and a certain point of view to become a viewer reveals itself as a political category in a much stronger way than performance, built on the idea of emancipation by ephemerality and immateriality.

After the End: Adorno

The idea that the body is always a medium, that it never establishes itself on stage as present in the here-and-now, brings unexpected potential. The strongly subversive status of the body allows it to reveal questions on subjectivity seen in relation to what is dead, inanimate, un-natural, and ultimately in relation to the technological. Phelan, Peggy. Weber, Samuel.

Mass Mediauras. All quotations of the play are taken from the unpublished screenplay, provided by Nowy Teatr in Warsaw. Wasilkowska, Aleksandra interviewed by Jakub Papuczys. Theatricality as Medium , op. The Post-colonial Studies Reader. But looking closer at her text, one can see that all the examples she analyzes are not classical performances. She chooses artworks that are literally based on the use of different media and different technologies.

She is herself and not-herself at the same time, touching the classical problem of impossible dualism between the actor and the character she embodies. In one of the most important books about theater theory, Samuel Weber states that theatricality, as the oldest form of dealing with the problem of the body and its presence, should be understood literally as medium. It destroys cohesion, unity, and coherence.

The body is no more present than any other medium used in the theatrical performance. This intention is inherent in Polish theater, but this time the way Dziady was staged is very interesting.

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In Poland there is no meaningful black minority. An old television set is almost always present on the stage. What television transmits is not so much images , as is almost always argued. Television takes place in taking the place of the body and at the same time in transforming both place and body. But this presence can only happen if the body itself is treated as another—different, exotic and attractive because unknown and un-understood.

Download Book Theatricality as Medium Read Online by Samuel Weber - prindaretsyu

As observed earlier, the body, confronted with technological mode of representation, is not the real body anymore. There is no pure presence. Mass Mediauras. Its labyrinthine architecture — while being incredibly suggestive because of its overwhelming sense of entropy, decay and energy loss — is as ruthless and uncomfortable for the actors as for the spectators.

The faintly seen and heard actors move about like shadows in the monotonous, hypnotic rhythm of the action. Here, nature does not exist without technology, nor hyperconsciousness without instinct. Studying the ontological status of savages is, however, not an abstract pursuit, but one entrenched in history. It all comes from knowledge, which you place on this gelatinous mass right here. Through experience forming the shapes underneath the fur.

ilearntennis.com/wp-content/444/kajyz-trek-marlin.php The fictional territory of the Savages was thus conceived as an inverted island—living, migrating and dominating the entire space, it oversaw the process of constant flow and exchange of energy. The creator of the installation explained it this way:.