By S. Bayly
Exploring the topics of the development, ephemerality and democracy that mark the come across among functionality and philosophy, this unique research elaborates clean views at the reports of undoing, fiasco and catastrophe that shadow either the either level and daily life.
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Extra resources for A Pathognomy of Performance
What is evidenced in this remark is the rediscovery of a specifically ethical experience of audience that, while it has never disappeared, has been obscured in the rejection of conventional theatrical form by various avant-garde practices of performance and in the relative decline in theatre as a form that carries symbolic cultural capital in the ‘digital’ era of networked information. Etchells is explicitly raising the questions of ethical necessity, desire and obligation that seem to underscore the asymmetrical structure of the contemporary Western theatrical experience and that have come to the fore ever since its theatre went increasingly ‘indoors’ during the early part of the seventeenth century.
The thing you were offering up, showing, demonstrating, has turned to dust in your hands […] I suggest this possibility because it sheds light on the peculiar pleasure of fiasco […] The pleasure an audience takes in such moments is far from Schadenfreude. 8 Disaster and fiasco: two types of unforeseen event that disrupt the planned unfolding of a rehearsed situation. The disaster described above is overtly death-bound and portentous, demeaned by anecdote. The fiasco verges on the trivial, superficially hardly worth the telling.
The reappearance of the naked, cut and bleeding body within the practices of British-based live art during the 1990s (for example, in the work of Franko B and Kira O’Reilly) could be considered as another manifestation of the desire to do away with this sense of mimetic foreclosure. Where there is rehearsal, the audience is always silently present. This creates demands, expectations and judgments. In the making and doing of theatrical performance, everyone is still expecting everyone else to ‘perform’.
A Pathognomy of Performance by S. Bayly