DRAMARAPPORT
THEATRUM
MUNDI
2016
Af Luchessi Montecillo
Hvordan bearbejdes budskabet gennem forestillingen?
Seperation af bevægelsespartitur og replikker, for at understrege adskillelse mellem tid og rum, modsætninger mellem det observerede fysiske og den indre verden. Rekvisitter og kostume bruges for at skabe en symbolsk scene.
Inddrag relevant dramahistorik?
Reference til liturgi Verfremdung - kønsrollens illusion ved brug af modsætning · Kvinden i habitjakkesættet Moderne teater: symbolsk fremstilling, abstraktion Performance er ikke site-specific: kan forekomme alle steder.
BUDSKAB Hvad forsøges at blive formidlet?
Kønsroller er en social/kulturel konstruktion, men reelt en biologisk funktion. Konfliktstoffet: Køn, kultur & klasse - derfor intra, inter og a-personel på samme tid. Voiceover er inddelt i: 1. Prolog: 2. Kvindelig hysteri fra antikken til Freud og dens uundgåelige afskaffelse. 3. Fra myte til rationalisme: de 3 klasser af kvinder i det antikke grækenland. 4. Fra pantheisme til deoisme til polycentrisme: om barbariske kvindeundertrykkende ritualer gennem historien til samtiden. 5. Fra kollektivisme til det situide individ: 6. Nihilisme, neofundamentalisme og frihedens betingelser: Nihilismen’s deklaration af gud’s død løste ikke i sig selv uligheden mellem slave og mester, men skabte andre former for ekstremisme uden decideret at løse ligestillingsproblematikken- eller rettere kløften mellem mænd og kvinder’s forståelse af relationer og seksualitet. Der kan ikke være tale om et demokrati i praksis uden anerkendelsen af kvindens rettigheder og interesser der inkluderer det politiske.
Hvad er konflikten i historien?
Hverken rollen eller funktionen er mulig uden et tilsvarende sæt rettigheder der medfølger pligterne. Der er fortsat en tendens i det postmoderne samfund til at tage udgangspunkt i archaiske normer vedrørende kvindelig adfærd, der er destruktiv for identitetsdannelse, og derfor også for et konstruktivt demokrati i praksis. Resultatet er en kontinuøs fatsholdelse af Madonna-luder syndromet, en mentalitet, der tager udgangspunkt i kvindens rolle som en bestanddel af mandens ejendom, primært som facilitator for den reproduktive proces. Udfra dette værdisæt som grundlag bliverer objectificeringen af kvinden en selvfølge og eksistentielt dogme, der indbygger et større sæt af problematikker forbundet med socialisering og psykisk stabilitet.
Performance: Antonin Artaud - Fokus på det fysiske som sproget kontra dialog. - Stemme (voiceover) og krop sepereret; · Det sanselige vs. det åndelige · Persona / stereotype vs. indsigt · Illusion / forfængelighed vs. erkendelse / tilstedeværelse :Erik Exe Christoffersen - Performance som indgriben i virkeligheden via kroppens iscenesættelse. - Fokus på energi/intention. - Paradigmebrud. Rekvisitter: Fungerer som intertekstuelle referencer og som “scene” i kraft af at de fungerer som den kulturelle referenceramme. Forskellige udviklingstrin (livsstadier), overordnet også den menneskelige reservoir af videns udvikling: 1: kugle : atom : skabelse : myte : kosmogoni. 2: viden : skriften : religion : biblen. 3: filosofien : teatrets opståen : begyndelsen af ego. 4: seksualitet: kønsrollemodeller : ødipus og elektra : tiltrækning & frastødnin: relationen til andre. 5: kønsmodning : myndighed : beherskelse. 6. kreativitet: produktivitet: reproduktion. 7. erkendelse: refleksivitet. 8. accept: frihed.
KONCEPT
Hvordan er budskabet iscenesat?
Hvilke teorier, scenekunstnere eller teatergenrer har skabt inspiration for konceptet? - Liturgi/mysteriespillene har haft en indflydelse, og der er flere elementer af værket der referer dertil (notesblok med Alpa og Omega på omslaget), æblet (syndefaldsmyte, seksualitet overordnet). Manden og kvinden er forenet i historien, de udtrykkes som sameksisterende i samme tid og rum, og i dette tilfælde også i samme krop. Forestillingen er allegorisk af karakter. - Shakespeare har selvfølgelig gså haft sin indflydelse, i og med at det handler om kønsroller og at emner som kærlighed, konflikt og seksualitet er den del af konceptet. Aktøren repræsenterer begge aspekter, og bliver derfor en hybrid, en sammensmeltning af de to som figur: dvs. ikke neu-
tral, ikke-aseksuel, ikke en ambivalent størrelse skabt af sammenføjning af modsættelser, men en amalgameret størrelse. Konfliktstoffet bliver brugt som grundlag for en ny form, der eksisterer i et konstant spænd mellem de samtlige ekstremer, der eksisterer i et polycentrisk samfund. - Det moderne teater: performancen indeholder træk fra forskellige perioder, bl.a. i kraft af rekvisitter. - Fraværet af en decideret scene gør værket site-specific. Den er ikke bundet til én specifik referenceramme pga. konceptets allegoriske karakter.
Inddrag relevant dramahistorik, teatergenrer e.lin. Forklar hvordan det teoretiske aspekt kommer til udtryk. Narration (voiceover) - Budskabet bliver uddybet i narrationen. Prologos tager udgangspunkt i den enkeltes oplevelser (her inddrages aktøren på et mere personligt plan). Resten af narrationen er apersonligt og nogle dele er interpersonlige emner. Stemmeføringen varierer, og kan til tider minde om et kor pga. redigeringen, da der forekommer overlapninger af stemmen. Bevægelsespartitur - Denotation består af en kvinde i habitjakke, der tømmer en kasse for dets indhold, og placerer det som en tidslinje foran publikum. Hun snurrer et stykke pap med et tyndt reb mellem hænderne. Pappet er cirkulært med illustrationen af en fugl på den ene side og en et bur på den anden. Det skaber en optisk illusion af en fugl i et bur.Hun har medbragt æbler og spiser det ene af dem i løbet af forestillingen. Rekvisitter - kasse, figurer, fugle/bur illusion, kostume, notesbøger.
Hvilke forudsætninger har haft indflydelse på processen og produktet?
Research - Har været påkrævet i skrivefasen til voiceover. Tilegnelse af nye færdigheder og viden (redigering af materiale) Devising (både ift. udvikling af performance og som element i performance stykket), der kan forekomme variationer. Produktion af nogle rekvisitter.
Hvordan er begrænsninger & muligheder blevet udnyttet?
individuelt arbejde har været udfordrende, men har også været lærerigt ift. tekniske aspekter. Det har bl.a. medført adskillelige overvejelser ift. tidspres & iscenesættelse.
Inddrag relevant dramahistorik.
Persona kommer mere i fokus - Der er ikke tale om formidlingen af en karakter. Habitsættet er forbundet med en konnotation: et symbol på maskulinitet på samme plan som hår osv. Stilisering vs. det naturalistiske - Selve opsætningen, rekvisitterne som iscenesættelse osv. i skolekontekst kan forekomme fremmedartet, derfor stiliseret - på trods af at de refererer til samme kulturelle reference ramme. De har en fremmedartet effekt pga. de græske figurers antikke udtryk (asynkron effekt), Ganesh pga. dens rolle som symbol for frugtbarhed og skabelse i hinduismen, Budhha ses som reference til buddhismen, men kan også referere til hvad man indenfor populær kultur kalder mindfulness, og til sidst har uglen indenfor græsk kultur repræsenteret Nike, sejrsgudinden; også forbundet med Athene.
BILAG 1: Monolog (voiceover) The room/space is dark/empty: a Lone figure enters silently, dragging a suitcase. The figure plages The suitcase in The center and begins unpacking.
PUBLIKUM
Prologue
Beskriv målgruppen
You see, i’ve always Been somewhat Odd A patchwork of Multiple imperfections and Strange faculties The quiet Girl in class The Girl who preferred training tennis With The boys The weirdo who liked staying in The library during The lunch breaks The first instrument i ever wanted to learn was The piano I didnt like The idea of Santa clause when i was growing up
Begge køn ses som målgruppe, og aldersgruppe starter ca. ved 18, da der er elementer både i forestilingen og narrationen, der måske ikke vil give mening, eller virke særligt relevant for yngre grupper.
Hvordan placeres målgruppen?
Målgruppen placeres tæt på forestilling, for at gøre den mere nærværende, hvilket både kan minde om den antikke scene (bortset fra manglen af forskellige niveauer, og den akkustik der medfølger) og senmiddelalderen (1400-tallet, comedia dell’arte) pga. den tætte proximitet. Publikum agerer måske ikke direkte i forestillingen, men placeres i den. Det er en forestilling om forestillinge(n/r).
Hvordan reagerer publikum? Reagerer de som forventet?
Reaktionen var vurderende og/eller undrende, hvilket opfylder forestillingens formål. Forestillingen er ikke en konklusion i sig selv, men kan fungere som åbning. Forestillingen er åben for debat, hvilket også fremgår af lydsporet, for den opmærksomme lytter. Hvordan bruger forestillingen sit publikum? Hvilken rolle har publikum for jeres iscenesættelse? Publikum er meddigtende, da forestillingen ikke sigter efter at agere som slutfacit på dens præmis. Forestillingen har en allegorisk karakter, men forsøger at inkorporere moderne teknikker.
My mother raised me to do housechores, watch The siblings, go to school and come home no later than 10 if i visited a friend or went to a birthday party. I had to argue With her for hours, days and sometimes longer to get something i wanted: like a paper route job, an excursion With my classmates, a sleepover and boys were out of The question... She told me my name was something she Got from a book she read as a Young Girl; some story about a heroine: not The drug, but a female protagonist. I never found The book she mentioned, though. The only name i’ve ever read similar to my own is in Edgar Allan Poes “The cask of Amontillado”. The character never actually appears in The story, is male and despised by The main person. Its an interesting bit, but that still leaves The origin of my name a complete Enigma to me. Thanks Mom. I didnt grow up as a crossdresser, but it has its pros and cons, and both categories are fairly obvious: it doesnt exactly scream “looking for a husband” and it might border slightly towards “looking for a wife” instead, but i am neither... I chase stories: stories that answer my questions, pique my interest, stimulate my imagination, inspire me to aspire, encourage me to believe and occassionally Warn me of The outcomes i dont want to live. I’ve moved around a fair bit, which is why everything i have Can be viewed as a form of souvenir: all of it Can be fit into a 30 squaremeter room or less and Quickly relocated, so i Can basically move my entire world With me. This story begins and ends like most others: With some kind of psychosis, which is exactly what falling in love is: a form of insanity experienced in varying degrees and durations.
1: The aristotelian drama Let’s start of with a definition of love. If I look it up, it can roughly be divided into three main categories: desire, friendship and companionship. This is one of the oldest topics in our common history, whether we like it or not, because it is an implied element in every relation known to man. Freud’s psychosexual theory was developed as means to cure female “hysteria”: a term introduced in 1801**** within the field of psychoanalysis, however the concept was already present in antique greek society. The origin of the word can be derived both from latin (hystericus) and greek (hysterikos). The greek doctor Hippocrates, from whom the hippocratic oath was derived, described it as the womans wandering womb through the body causing many of womens physical and psychological ailments, along with unaccepted forms of behaviour. Hysteria was seen as “conversion symptoms”: meaning a result of suppressed sexual urges. Critical female psychoanalysts apply more emphasis on a lack of opportunities for self-realization. Hysteria was used as a general diagnosis for several female symptoms from ca.460 BC to 1995, when it was discontinued as a viable diagnosis, and when the women’s rights movement was becoming more recognized in the US. Krafft Ebing, who published “Psycopathia Sexualis” (sexual disfunctions) in 1886, is recognized as a key figure in the study of psychology and sexology as disciplins. Its a 12 bind collection describing human sexual behaviour, including 200 or so case studies of women, men, criminals, hetero and homosexuals and so on. Dr. Ebing was firmly convinced that any behaviour outside of the christian monogomous state was a sign of illness in itself, and viewed women as subordinate beings whose social standing was elevated to equality through marriage. Source (http://psychistofwomen.umwblogs.org/sexuality/pre-kinsey/krafft-ebing/) According to Freud aggression is caused by a lack of sexual release, which can be relieved by a substitute target, a method he called “katharsis”. Katharsis is the aim of theatre, a tradition passed down and developed through religious practice. In other words: it is the practice of satisfying the unfulfilled needs of the spectator (read voyerism), as handed down to us by the famous Aristotle’s poetics, on which we have based the majority of our current communicational and analytical methods of understanding. 2: From myth to rationality In ancient Greece women could be divided into three categories: citizens, foreigners (or hetaera), and slaves. Democracy was reserved for a group of men, who made up 10% of the population, whose rights as well as social standing were determined by their property and age. Citizen women’s rights and activities were all bound to the home, leaving them little to no experience of the outside world, unless accompanied by a male family member. Their sole purpose was to bear legitimate heirs of a male citizen. Foreigners and slaves had no rights in this society, it was considered a citizens right to do with them as they pleased, the only exception being murder. Hetaera was a term used to describe a group of educated foreigner women, the majority of which were bound concubines (mistresses) of
a citizen. These were the only class of women who could move freely without harm, including the political functions of male society that wives were excluded from. Thankfully, there are examples of alternative female examples. These women were all philosophers and recognized by their communities as such, despite the lack of public mention of their influence on human history, women of our time can look to them as examples of strength that reaches beyond mere biological function. Unlike the majority of women in their time they were not considered cattle; whereas the majority of women, who were slaves in ancient Greece and in Rome were considered obliged to participate in either full or part-time prostitution. The segregation between the three classes has always been defined by women’s social standing in relation to men, and so the women’s movement can only be seen as an inevitable consequence of a generally accepted inequity that causes poverty andsuffering, or more directly: negative social heritage. Source: “Women in classical Athens i the shadow of North-West Europe or in the light from Istanbul”, Jørgen Christian Meyer (http://www.hist.uib.no/antikk/antres/womens%20life.htm).
3: From pantheon to deocentrism to polycentrism Regardless of the culture in question, be it based on the idea of one or multiple gods, female sexuality and identity has always been a matter of control and/or punishment: The ancient vikings drugged, murdered and buried female slaves to accompany their masters in death, in the Old testament they condemn raped women to death by stoning, during the 15-17th centuries ca.9 million women died during the witch trials. It is estimated that more than 125 million girls and women alive today have undergone female genital mutilation in the countries where the practice is concentrated. There are an estimated 3 million girls at risk of undergoing female genital mutilation every year. The majority of girls are cut before they turn 15 years old. This practice mainly exists in african countries such as Somalia, Iraq and Yemen. Some countries practice arranged marriages of girls as young as 8, and the majority are married off before the age of 18 and denied further schooling when engaged. These are religious practices that have not been politically addressed till recent years. Women and children account for the majority of human trafficking. “At each stage, women, men and children may encounter psychological, physical and/or sexual abuse; forced or coerced use of drugs or alcohol; social restrictions and emotional manipulation; economic exploitation, inescapable debts; and legal insecurities. Risks often persist even after a person is released from the trafficking situation, and only a small portion of people reach post-trafficking services or receive any financial or other compensation.
The effects of this practice include: fatigue, headaches, sexual and reproductive health problems, back pain and significant weight loss along with persistent mental health problems: depression, post-traumatic stress disorder, anxiety disorders, suicidal tendencies and somatic conditions. In short, it is a practice that produces all The symptoms of hysteria. **** Source: http://apps.who.int/iris/bitstream/10665/77394/1/WHO_RHR_12.42_eng.pdf?ua=1
4: From collectivism to The sitoid individual Female identity and the role of women has changed in connection With The strife for power and possession. The female body has Been subjugated over The course of history as a tool, a means of control, manipulation, exploitation and simple financial gain. The suffragette movement was an inevitable consequence and in turn also The emergence of The “pure relationship” termed by The sociologist Giddens. This is a relationship entirely based on a conscious assesment of The validity of a relationship.
5: Nihilism, neofundamentalism and The conditions of freedom. Nietzsche’s character of The madman exclaimed that God is dead and That we have killed him, additionally he divided People into two separate mentalities: The slave and master mentality. His words were later on abused to justify The genocide of jews by an ideology that did not only support, but favour racism, but also actively indoctrinate an entire generation of youth to polarized gender roles that confined women to homelife and created a patriarchal and fascist structure of society - The consequences of which has given rise to what we Call The working poor today. The very same ideology took advantage of the physicist Lisa Metzger’s work to later on create The atom bomb, which has caused further destruction and misery. Poverty and suffering has created all The opportunity needed to fuel war, exploitation and genocide, The effects of which we are still experiencing as we discuss The issues of terrorism, refugees, human trafficking as Well as The safety of modern liberty and democracy. But at The Heart of these matters lies The values and reflections of The individual, which are largely based on antique perceptions. As long as women and men are not given an equal stand on a global scale we Will continue to watch The patterns of negative social inheritance inflict their havoc in our family structures, relationships and political arenas. For The vision of a democracy to exist, The political spectrum needs to be representative and women are The final frontier of this public relationship.