Anthropocosmic Theatre: Rite in the Dynamics of Theatre by Nichos Nunez, Ronan Fitzsimons

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During this paintings the writer lines his researches with Grotowski and Strasberg, on the outdated Vic in London, and in Nahuatlan and Tibetan theatre to reach at his layout for a different participatory theatre shape. The textual content additionally offers a pragmatic consultant to the author's ritual/theatrical "actions" in addition to delivering 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)

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The first to do this were the local dignitaries, and then gradually all those present went on to splash a bloody blessing onto relatives—present or absent, alive or dead—property, cattle, business possibilities etc. Afterwards they moved on to the communion with the meat of this bull, which was ritually cut up there and then and shared out among the congregation, who numbered about three hundred in total. 32 ANTHROPOCOSMIC THEATRE The performance’s archaic sense sent shivers down the spine. After the communion with the meat, a pilgrimage was begun which ended by the temple door, in a rectangular space of about twenty metres deep by seven wide, completely empty apart from a cross, erected a few metres from the back, on which there could clearly be seen the drawing of the “eye of God”, or the Huicholan cross—yet another fact suggesting an exceptional sense of unification.

The touchstone to begin this knowledge process was given to us by Stanislavski when he reminded us of the importance of the “here and now”. WESTERN THEATRE 37 The “happening” also owes almost all its structure to these postulates, only that it is like a younger son because as it uses the “here and now”, it does not do so with complete consciousness of integration. On the contrary, it generally delves childishly and furiously into certain areas, to make certain in the first instance that it is alive; this is not essentially bad, it is just that it belongs to an elemental level of dramatic creation.

We shall now turn our attention to the importance to our workshop of the shell dance, which is of interest to us from a strictly scientific angle: on the one hand, its great capacity as an instrument for updating the consciousness, and on the other, the help it offers us in working out significant parts of our designs for participatory theatre. In its internal structure we have discovered: 1. It is a dance—or meditation in motion—performed through a defined body alphabet, a type of mandala in motion, which charges the performer with energy.

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