Josette Féral

Theatricality: The specificity of theatrical language

To define theatricality, or the specificity of the theater, is not only to attempt to define what distinguishes theater from other genres, but to define what distinguishes it from other kinds of spectacle-dance, performance art, or multi-media art. It is to bring the nature of theater itself into focus against a background of individual theatrical practices, theories of stage-play, and aesthetics. It is to attempt to find parameters shared by all theatrical enterprises from time immemorial. Although such a project may appear overly ambitious, its pertinence requires an attempt to establish such a definition. This article is such a step, seeking to establish points of reference for subsequent reflection. During the 20th century, the very foundations of theater were turned upside-down, as were those of other arts. What had been a clearly defined theatrical aesthetic at the end of the 19th century, outlining normative practice, was, during the 20th century, systematically reexamined. At the same time, stage practice began to distance itself from the text, assigning it a new place in the theatrical enterprise.2 Once under siege, the text was no longer able to guarantee the theatricality of the stage. Thus, it is understandable that those concerned began to question the specificity of the theatrical act itself, especially since this very specificity appeared to influence other stage practices as welldance, performance art, opera, and so on. The emergence of theatricality in areas tangentially related to the theater seems to have as a corollary the dissolution of the limits between genres, and of the formal distinctions between practices, from dance-theater to multi-media arts, including happenings, performance, and new technologies. The specificity of theater is more and more difficult to define. To the extent that the spectacular and the theatrical acquired new forms, the theater, suddenly decentered, was obliged to redefine itself.3 From that time on, its specificity was no longer evident. How then are we to define theatricality today? Should we speak of it in the singular or in the plural? Is theatricality a property that belongs uniquely to the theater, or can it also be found in the quotidian? As a quality-

From Event to Extreme Reality: The Aesthetic of Shock

We live in an era where many directors and artists in all disciplines seek to move beyond representation by bringing reality onto the stage, by creating the event—in truth, by introducing the spectacular. Presenting exceptionally violent, extreme scenes onstage brings art out of its theatrical framework and offers an experience identical to that of a real event.

Did you say ‘training’?

This article first appeared in French (2000). To avoid confusing readers of English, the French word entraînement (usually translated as ‘training’ in English) has been translated here as ‘preparation’, except where using the French term is the point. When the new French word training is discussed, we render it into English in italics. All translations of quotations are ours. Text translated by Leslie Wickes.

Alienation Theory in Multi-Media Performance

Although Brechtian alienation is usually presented as a theory of acting in most schools of theatre, its operative domain encompasses not only the actor, but an entire theatrical system in which the interaction of numerous elements assures the effectiveness of the theory. My hypothesis here is that the theory of alienation effect in acting can only be properly understood within this larger context, a context in which links between actor, spectator, and social context are woven together by an omnipotent director or author. It is indeed the interaction of the four elements mentioned above that constitute the basis of the alienation effect. I shall define alienation effect as a process by which both theatrical and extra-theatrical phenomena are rendered strange, forcing the spectator to adopt a critical distance with regard to that which is given to see and hear. This definition has the advantage of enlarging the concept of alienation effect while keeping it in line with similar concepts, such as the notion of ostranemie, that have been defined by the Russian formalists.

Theatre Is Not about Theory: An Interview with Reza Abdoh

I first discovered Reza Abdohs work in 1991 when he was invited to present his Hip-Hop Waltz of Eurydice at Montreals Festival des Ameriques. Of all the plays presented that year, Abdohs was both the most astounding and the most original. The imagery, the narrative, the acting, in fact the whole production had a strange quality to it, one that subverted the spectators customary point of view. I was intrigued as well as fascinated by Abdohs combination of high-tech and classical elements, modern life and mythology, violence and tenderness. It was clear from the start that his style of theatre was absolutely unique. After Hip-Hop Waltz, I saw Abdohs Law of Remains in New York. On this occasion, I expressed my desire to interview Abdoh, but this was unfortunately impossible to arrange as he was extremely busy rehearsing Tight Right White in preparation for a European tour. A few months later, while at a conference in Brussels, I discovered that Abdoh was presenting Tight Right White at the Vlamms Theatre Festival. I repeated my request for an interview. Since Abdoh was on his way to France, I decided to make a stopover in Paris on my way back to Canada, and thats where this interview took place on 4 June 1994. We met in Abdohs Paris apartment, and although he was quite tired, he very generously agreed to take the time to answer my questions.

Mnouchkine's Workshop at the Soleil: A Lesson in Theatre

Of all types of professional training, theatre training is the most difficult to assume and follow. After schools and conservatories-the classical route for artistic training, even if the teaching is periodically put into questioncome the universities. For the past ten years, universities have developed their own programs of practical training. (This is more true for American and Canadian universities which have budgets permitting real training programs than for the always terribly underequipped French universities.) Yet there are routes to follow besides these two types of training. There are the training programs and workshops offered by theatre companies to their members (such as those by Peter Brook and Ariane Mnouchkine). These training programs are sometimes, but too rarely, open to others, all of whom-with or without talent, with or without prestigious affiliation-have a real desire for learning and perfecting their skills. For these artists in search of improvement there is a great shortage of such workshops. Many training programs are offered on the market, but none of them have the value of those offered by theatre companies, nor are they as interesting. Some popular training programs are unannounced, their dates passed on among friends. Ariane Mnouchkines annual workshop at the Theatre du Soleils Cartoucherie in the suburbs of Paris is one of these. People wait a long time to get into this renowned program. Many candidates apply from all over the world, over I,ooo in I988. Mnouchkine sets up a preliminary interview with each applicant to determine who can stay. Nothing fundamental is said during the few minutes of interview-just the reasons why each applicant wants to take part in the workshop. Undoubtedly Mnouchkine detects a certain sincerity, sensitivity, or expectation that tips the scales. The candidates themselves are often incapable of saying what might have determined the final decision. We were 220 at the end of this stage, from 42 countries. More than 200 for a workshop lasting seven days, perhaps ten-we overheard the trainees say that sometimes Mnouchkine extends the training and everyone began to hope she might do it this time also .... When we asked, Mnouchkine