Superfluities Redux

by George Hunka
Artistic director, theatre minima

A Theatre Surrounds a City:
Vienna's Burgtheater


Tuesday, 03 June 2008

"A theatre ... must above all things be irresponsible and disloyal"

"I would like to propose a different theatre, in which conscience is removed from its dominant function and criticism is confined to that fatal axis where it alone operates to the common good – that which lies between the artist and the text, the self-criticism exercised in deletion, excision, self-denial of the banal and the routine. I would like to propose that the value of works of art, in social circumstances such as the present, lies not in their entertainment value, nor in their ability to 'change perceptions' in pursuit of some common purpose, but in their power to devastate the received wisdom of the collective, which conspires to diminish individual experience at all levels. A theatre which addresses the individual and ceases to regard the audience as an entity, which denies the existence of audience as singular at all, must above all things be irresponsible and disloyal. It cannot hope for the status of social critic, since the social critic is fully incorporated, and it must not clamour for the comforts of solidarity, the much-vaunted 'celebration' of the community play or the musical, for these are the realm of the commercial or the politically facile. It is in the rupturing of these ties – essentially the breaking of the curse of entertainment – that the prospect of a new theatre lies. Formal innovations in theatre – the slide towards anti-literary theatre, anti-linguistic theatre – will not solve what is, in essence, an impasse created by excessive harmony. The action of such a form of drama will not be to labour to 'widen sympathy' or 'to make us understand one another better,' another element of the catechism of the humanist theatre, but rather the opposite, to engender division, to weaken spurious ties, to provoke a sense of incurable alienation from the polis which alone can give us access to the authentic experience of tragedy – for the pursuit of harmony and unity (the sentimental ambition of artists and, to some extent, their sole licence) abolished tragedy in the fond pursuit of rational order and spiritual peace. ..."

Howard Barker
George Orwell Memorial Lecture, Birkbeck College, 1991
In Arguments for a Theatre

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Tuesday, 03 June 2008

Organum

An addition to the Organum is available this morning at the new theatre minima journal.

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