By Nichos Nunez, Ronan Fitzsimons
During this paintings the writer lines his researches with Grotowski and Strasberg, on the outdated Vic in London, and in Nahuatlan and Tibetan theatre to reach at his layout for a special participatory theatre shape. The textual content additionally offers a pragmatic advisor to the author's ritual/theatrical "actions" in addition to offering 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)
We had the chance to learn in depth the ins and outs of what is involved in performing a pastorale these days, for instance the one performed at Tepozotlán, possibly the most famous one performed in Mexico at the moment. The spectacular effect of the pastorale lies in the use of part of the convent of Tepozotlán as a stage, its large production, and the completeness of the party when the performance is over: fireworks, jars of sweets, food, drink, mariachis and so on. Without doubt, we could expand on each of these points, as we are fully aware of the richness of theatrical festivity which this pastorale contains, having directed it in 1975.
As it cannot keep up the rhythm, it switches off, succumbing to the pressure which cannot stand still and which demands that it carry on in the attitude of “here and now”. This “here and now”, as summoned up by Stanislavski, does not explode fleetingly like the “happening”, but rather opens up slowly and dumbfoundedly and sets itself up on the stage, as the channel of authentic reality. Stanislavski proposed the development of a rigorous mechanism which would allow us to live in an instant. In that sense, we repeat, he took the first steps in contemporary theatre, thus indicating his deep commitment to the true performer.
All religions are fusions, amalgamations, melting pots. The phenomenon of union in preHispanic shell dances is a true reflection of how the aspirations of authentic Christianity and pre-Hispanic religion are blended in a single impulse to dance for God. This phenomenon, with this unified structure, is what the Mexicans of today are living through. In this structure we can find Nahuatlan theatrical rite totally alive, together with images and guidelines of Christianity brought to life by this dance.
Anthropocosmic Theatre: Rite in the Dynamics of Theatre (Routledge Harwood Contemporary Theatre Studies) by Nichos Nunez, Ronan Fitzsimons