Download Anthropocosmic Theatre: Rite in the Dynamics of Theatre by Nichos Nunez, Ronan Fitzsimons PDF

By Nichos Nunez, Ronan Fitzsimons

During this paintings the writer strains his researches with Grotowski and Strasberg, on the outdated Vic in London, and in Nahuatlan and Tibetan theatre to reach at his layout for a distinct participatory theatre shape. The textual content additionally offers a realistic consultant to the author's ritual/theatrical "actions" in addition to delivering a philosophical context for this paintings.

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Extra resources for Anthropocosmic Theatre: Rite in the Dynamics of Theatre (Routledge Harwood Contemporary Theatre Studies)

Sample text

Also, if they are used for a time without being returned to their origins, they tend to weaken. He knows, as a good German who knew and studied in depth Nietzsche’s The Birth of Tragedy, that the pact between the Apollonian and the Dionysian has been in theatre from time immemorial, accentuated sometimes in favour of the former and others in favour of the latter. Now, after more than WESTERN THEATRE 39 fifty years, things have changed sufficiently to understand the need to reconsider the mechanisms of action so as to get into theatrical development and its social derivations; in other words, we see the need to propose that Brechtian distancing be expanded, not only because we consider this proposition to be correct, but because, whoever does it, it is fitting for our time.

Afterwards they moved on to the communion with the meat of this bull, which was ritually cut up there and then and shared out among the congregation, who numbered about three hundred in total. 32 ANTHROPOCOSMIC THEATRE The performance’s archaic sense sent shivers down the spine. After the communion with the meat, a pilgrimage was begun which ended by the temple door, in a rectangular space of about twenty metres deep by seven wide, completely empty apart from a cross, erected a few metres from the back, on which there could clearly be seen the drawing of the “eye of God”, or the Huicholan cross—yet another fact suggesting an exceptional sense of unification.

He knows, as a good German who knew and studied in depth Nietzsche’s The Birth of Tragedy, that the pact between the Apollonian and the Dionysian has been in theatre from time immemorial, accentuated sometimes in favour of the former and others in favour of the latter. Now, after more than WESTERN THEATRE 39 fifty years, things have changed sufficiently to understand the need to reconsider the mechanisms of action so as to get into theatrical development and its social derivations; in other words, we see the need to propose that Brechtian distancing be expanded, not only because we consider this proposition to be correct, but because, whoever does it, it is fitting for our time.

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