Future – Where We Go From Here
In his essay, Lehmann argues: “Theatre per se is already an art form of signifying, not of mimetic copying” (167). This is in relation to postdramatic theatre and the use of media and digitalization. He argues that technology will not dramatically change how we create theatre because theatre is not about representation, but about signifying. Regardless of whether anyone agrees with his arguments or not, several major questions are raised concerning the relation between media and our changing digital identity and the future of theatre.
In reflecting upon the use of media in the shows we’ve seen, I will take into account Pavis’s approach to analyzing theatre. If we look at the scenography section in Pavis’s questionnaire, we see two points that need to be analyzed when looking at the scenography of a performance: “links between space utilized and fiction of the staged dramatic text” and “what is shown and what is implied” (209). This ties directly into Lehamnn’s argument of what the item on stage signifies rather than what it represents (167-168). A “tree” on stage is not a tree, it only signifies it and not represent it (Lehman 167). From this point, we compare, using Pavis’s approach, the use of the digitalized image in Die Kabale (Castorf) & Borderline (Cassiers)
On one hand, Die Kabale included purposeful use of film to signify media in the larger context. This was highly effective to show media’s significant impact on our personal lives. To further clarify this point, Die Kabale does an impressive job at signifying people, ideas, and -more relevantly- media. There was a camera set recording the most intimate details of the performers’ actions which signify their personal lives. The camera seemed to follow the actors more often during their intimate or lowest moments throughout the performance. Intimate moments included sex, anger, breakups, fights… The set included several tents in which some of those moments took place and the viewers were able to follow what was going inside the tents through a large screen to the right side of the stage.
On the other hand, some performances such as Borderline (Cassiers) included the digitalized image, but in a more representative and mimicked way. There were actual TVs on stage which played actual news clips, images, reportages… After hearing several opinions on the show, it seemed to be less effective than Die Kabale’s (Castorf) use of the digitalized image. It signified less, when it was mere representation.
Therefore, the questions raised by Lehman’s discussions (167-168) of the relationship between theatre and media are very relevant. His argument on how media is not dramatically changing scenography is fairly accurate. However, the changes are very noticeable in other areas of interest such as the topics discussed, what the digitalized image signifies, and the way this digitalized image is used. This ties back into our previous discussion of whether the digital is used in art as a rebellion or reinforcement. This question remains relevant to understanding where we, as theatre analysts and practitioners, go from here.
Works Cited
Patrice Pavis "Theatre Analysis: Some Questions and a Questionnaire" New Theatre Quarterly 1.2 (1985): 208-12. Print
Lehmann, Hans-Thies. Postdramatic Theatre. Trans. Karen Jürs-Munby. London and New York: Routledge, 2006. 167-174. Web. 26 July 2017.
“Die Kabale Der Scheinheiligen Das Leben Des Herrn De Moliere.” Dir. Frank Castorf. Parc des Expositions chemin des Félons (enter n°2) 84000 Avignon.13 July 2017. Performance. Festival D’Avignon.
“Grensgeval (Borderline)” Dir. Guy Cassiers. Parc des Expositions chemin des Félons (enter n°2) 84000 Avignon.18 July 2017. Performance. Festival D’Avignon.
