"This would suggest actor & audience operating within two chronotopes
simultaneously - recognizing actor as actor as Hamlet, stage as stage as
Kingdom of Denmark. Constantly moving between the plasticity of the two."
JHaught
> Yes, well riminded by you.
> Boal's concept of "aesthetic space" was (re)signed and named "play area"
in
> current brazilian dominant proposal to theatrical luduspedagogic activity
in
> schooling (based on Spolin's theater games system).
>
> When he says in chapter 2 of the "rainbow" that, to Lope de Vega, the
stage
> is "a space pointed out of the other ones, a 'place of representation' ",
he
> makes clear to us what he is calling "aesthetic space": something done
> intentionally to an observer (as does Bakhtin in his *Aesthetic of Verbal
> Criation* when he distiguishes between drama (pretend play) and theater).
>
> Although, to Boal, Theater can exists "in the subjectivity of those ones
> that practice it" (p.33) and is not necessarily related to an audience or
> spectator (espectador) or set or stage... "to the existence of Theater
> neither the stage or the audience (espectadores) are needed" (p. 33)
>
> But to Bakhtin, on contrary, " The representation in fact is close to the
> art, or dramatic action more preciselly, but is only with the emergence of
a
> new participant, outsider, not involved by representation - the spectator
> (audience), that begin to observe children representation in the point of
> view of the hole happening of representation (...) [that] the initial
> happening is transformed, becomes enriched of a new element - the
> spectator-author (...) in other words, we're in front of a happening that
is
> no more representation [pretend play] but borning Theater, as to say, an
> artistic happening." (p.91)
>
> If to Bakhtin the drama's outsider observer (lurker?) is what changes
> initial happening, to Boal what makes difference is what one does have in
> mind when "acts" in order to be viewed by others...
>
> What defines the aesthetic dimension of a happening, to Bakhtin, is the
> emergence of that ousider, the observer. In this sense, a kind of author -
> because she/he (co)labours the artistic happening, gives the happening a
new
> meaning, a new sense...
>
> But, on the other hand, Boal is also right. Because it could not exist
> Theater without intention of communication to an eventual observer by
those
> ones involved in pretending.
>
> What do u think?
Ricardo Japiassu
Universidade do Estado da Bahia em Teixeira de Freitas - Uneb X
Rua SS, s/n - Jd. Caraípe
Tx. de Freitas - Bahia
45 995 000 BRASIL
http://www.ricardojapiassu.pro.br
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