By Adrian Kear (auth.)
In the start of the twenty first century, eu theatre-makers have sought to think about the disastrous occasions of the 20 th century because the unfinished enterprise of the modern. during this e-book, Kear argues that through pondering in the course of the common sense of the development, modern functionality bargains an affective interrogation of 'the occasion' of the eu century.
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Additional info for Theatre and Event: Staging the European Century
Example text
At the same time as stressing the specificity and singularity of each of the theatre events and theatre-makers discussed in this book, and foregrounding the critical benefit to be drawn from analysing their operation through detailed case-studies, it is nonetheless important to situate them in relation to one another and with regard to their manifestation of the continuities and discontinuities of the present historical moment. In the historical and political context of contemporary Europe, the articulation of the interrelation between the twentieth and twenty-first centuries appears to be of paramount importance.
Something of the structure of the historical event, and the experience of being historical, is therefore also at stake in the investigation of the theatre event’s aesthesis, illustrating the nature of the event as being co-determined by the act of perception, and subjective intervention, which codify its relational operation. The relationship between the happening of the event and its interpretation, and its continued realisation through subjectivating modes of relation, becomes the material substance of the second part of the Sad Face/Happy Face trilogy, The Lobster Shop (2006).
The explicitly theatrical set-up of the apparatus makes it clear from the outset, however, that the mediating technology operates from within the space of the mise en scène, and takes the form of an orchestrated thinking through the relationship of presence and representation, embodiment and figuration, explicating the present moment by establishing an optic for investigating its historicity. As Isabella looks back over the events of her life, the theatrical entwining of the true, the false and the fictive (and the innumerable shades of perspective in between), enables her to produce a dialogical account of their interstitial relation Introduction 27 with the events of the century – at least those events that have affected her, and her inter-subjective relations – in what might be termed an ‘evental’ dramaturgy.