Simultaneity And Representation

I recently read a sentence: The barely bearable simultaneity of the world. (…) Everything is available both historically as well as geographically. This is particularly palpable in architecture and it is used irrespective of the respective experiences that led to it. What remains is the image, the applicable cliché, but the underlying experience, which gave rise to the image, is excluded. An opposite standpoint: to exercise a gatherer attitude with regard to the simultaneous experiences made in a global context. It would be about gathering experiences and accepting them as one’s own.

This is certainly one of the dangers with Wilson, although he is fully aware of it himself. He knows that he needs a text now, otherwise the availability of the images will turn into a randomness of images. Finally, they will become interchangeable and thus become devoid of purpose. And that is precisely what is happening at the moment: The greatest crowd-pleasers are plays that are already devoid, performances that fail to convey anything but themselves. (…) I do not know, maybe this is a bit of an archaic stance, but to me it seems (…), that we have never really worked with texts in the theatre, that texts have still not been used as material, as matter. Just now, I recall (…) Beuys’ performance with the Coyote in New York. In a sense, this is the perfect metaphor for how an actor deals with the text, the text represents the Coyote. (…) And one does not know how it will behave.

However, I believe that art requires a local dimension.


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Page last modified on October 02, 2008, at 06:52 PM