Viewpoints Point to Global Theatre

The day we visited the thrust to do our viewpoints workshop was one of my favorite endeavors of the semester as a class. As we began to move about the space and respond to one another through various physical/kinesthetic response techniques (directed by Dr. Steiger), I realized that the multiple forms of theatre that we’d been studying throughout the course of the semester were present within consciousness of physicality. Not being able to randomly play with the different forms made me feel like a child not being able to play with a new toy, and in this restriction, I found the motivation to search, create, and play within the activity. I found myself constantly fighting the urge to break into an improvisational attempt at the Butoh form, or declining my instinct to move purposefully and rigid as in the Kabuki form.

After several minutes of responding to my fellow actors moving through the space, I began to let go of the need for control and understanding of what my actions might be conveying to the audience (Dr. Steiger). It was in this release that I found the greatest tool for global theatre, as well as my own personal necessity to relinquish control of my physicality onstage, therefore allowing myself to act and respond freely. Through release and true existence in the moment and interaction of the exercise, the work began to show me how diverse exposure to forms and content greatly increases an actor’s ability to express and create. Knowledge of global theatre techniques brings about a greater understanding of the human condition and progression, therefore the best tool for an actor does not rest within the knowledge of other world theatre forms, but rather in that actor’s awareness and understanding of how the other forms of theatre throughout the globe define the unique traditions of that people’s and region’s history.

Another tool to be taken away from this workshop is the strong connection that should be placed on the interaction and connectivity of the actors to each other as they physically move within the space. We were directed to “let that person affect you” as they passed by us or crossed our paths… Expressing affectation through immediate physical response or change forced me to be conscious in the “here and now”, and there is nothing more useful to the actor in learning how to focus and channel his/her energy for performance.

I took away many skills from this workshop, both in acting and in composing a piece. Having knowledge of diverse forms around the globe unlocks the potential within an actor to express the profundity of human existence, both physically and mentally. A viewpoints workshop is a wonderful way to begin to conclude the semester’s work and embraces the idea of multiple perspectives. It gave us insight as to how the different forms we’ve studied can be applied and demonstrated the value in being exposed to intercultural theatre. It’s not what you do, it’s how you do it, and this workshop helped me explore the infinite realm of creative skills that rest within the actor.

To Provoke, or To Inform? One in the same?

The Couple in the Cage had a profound impact upon my view of global theatre. During the viewing, I found myself unsurprised by the ignorance of the masses of people taking pictures and misinterpreting the statement about European colonization of indigenous peoples – particularly that of Mexico and Central America. The tool that is used is satire, although I am uncertain of its use on a global theatrical scale. My primary concern rests with the negative connotation that satire can often times bring with it…

An intelligent person could instantly recognize the exaggeration and extravagance of Fusco and Gomez-Pena, and indeed that person would both understand the message and possible enjoy the “performance.” However, this person was most likely already aware of the power imbalances and cultural influences placed upon indigenous peoples, and the performance would only serve to help resurface the issue in the mind of that person. What global theatre must do is bring attention to the issue while also helping to propose a solution through demonstration of action. Those audience members/viewers of The Couple in the Cage who did not grasp the satirical meaning (taking photos, pointing and laughing, etc…) merely became reminders of the mass ignorance, or lack of awareness, that the general world populace maintains about the different cultural experiences around the globe and the effects of European colonization.

The message portrayed in this is terrifying... It proves that human beings can be manipulated and made fun of directly without knowing it or desiring to change it. It demonstrates the very nature of people to categorize and label that which is different as “other.” Indeed, the form of satire does reveal the ignorance of information, and I was surprised by the artists’ claim at the end of the video stating that they were surprised to be so misinterpreted. They knew some would understand and that many would not; they knew that satire would highlight the lack of awareness and knowledge of the situation. Their use of satire as a global theatrical tool was provocative, and I believe intentional, and although the form may bring about awareness, it does not create an environment in which intercultural exchange can occur. It some sense, it is retaliation. Righteous, and needed, but not necessarily progressive in its ability to develop a global theatre consciousness.

Semester Reflections...

As we prepare for our final presentations I can’t help but look back at all of the amazing things I have learned this semester. I must admit, compared to my other classes this one challenged me the most academically. As a result I was challenged the most intellectually. The plays, articles, videos, assignments and discussions all help to broaden my understanding of theatre. Moreover, I learned a lot about myself as a theatre practitioner this semester as a direct result of taking this class. After having taken this class I feel like I have the tools to be a conscious and responsible global theatre artist.

The most valuable thing I learned about myself this semester was how I had allowed my westernized theatre training to cloud how I looked at theatre. In a sense I valued only what I knew and dismissed what the world had to offer. By being exposed to so many other theatre styles, forms and texts in such a scholarly environment I was able to see the beauty, power and relevance of theatre from around the entire world.

The most valuable thing I learned overall in this class was that if I want to consider myself a global theatre artist I have to not only be knowledgeable about theatre from around the globe, but I have to be able to expand my understanding of people from around the globe. Theatre artists are very special people. We entertain the masses, challenge the institutions, and nurture the spirit all the while doing what we love. This class has taught me to value, appreciate, embrace and support theatre form all over the world making me, in my opinion, and global theatre artist!

The Role of The Couple

I recall in our last class we were having a very energized discussion about "The Couple in the Cage". For the most part it seemed like all of us had very strong opinions about this piece of performance art. Some of us thought it was done the right way and some thought it was all wrong. Some of us thought it was theatre and some of us thought otherwise. Regardless of how we felt about the piece there is no denying the statement it made about truth, lies, and performance politics. This being said, how then does the piece relate to our understanding of global theatre?

The first reason this piece is important is because it forced us to ask ourselves, what do we consider theatre and how is that difference form perfomace art? My definition of theatre is a performance venue where the audience has come with the full understanding that they are about to see a performance. In performance art this is not always the case. In the Couple in the Cage only the performers and the most observant audience members understood that it was a performance. This in my opinion makes it strictly performance art and not theatre. However someone could easily disagree and make the opposite argument. This piece floats on the fine line between theatre, art and performance. I was able to better understand global theatre because it forced me to identify what exactly it is that I look for in a performance to consider it theatre.

I also think this piece made social commentary on how easily we exoticize cultures and people other than ourselves. furthermore, it highlights the responsibility of theatre practitioners. If all the observers watching the performance had been more concerned about the cruelty of caging people up and putting them on display and less about the spectacle of the piece they would have been able to see the meaning of it. Moreover, if the performers would have allowed the audience understand what was going on better the impact of the piece could have been greater. A piece like this to some people may not be theatre however, it opens up a discussion about the responsibility and role the audience and performers play in understanding global identity and performance politics.

Embracing the Cycle

The presence of ritual and religion upon the stage is something I feel to be very powerful and effective as a means of performance. While reading "Shango de Ima" I constantly observed parallels between the human characteristics of the Roman gods and the different Orishas present in Shango… I find spiritual and existential truth within this play because it acknowledges the duality of life that enables perception.

Obatala: And this compliance will be your punishment, Shango de Ima. The joy which makes suffering possible, the birth which leads to death will be your punishment and the punishment of all men… (Carril, 89; passage from "Shango de Ima")

I grew up Christian and fell in love with the concepts of different Eastern philosophies as I studied at the University of Kentucky. Although I now claim no specific religion outside of my own perceived spirituality, I still linger closest to Christianity due to my respect for the religion’s commitment to forgiveness… But its dependence upon the idea that Heaven and Hell are punishments outside of this realm drove me to seek other concepts and beliefs. Heaven and Hell exist in this realm on Earth; they are conditions of mind, or physicality, or any form that can be perceived as pain or joy, suffering or pleasure.

In observing Shango’s interactions with the other characters of the play, I see the possibilities and consequences of life’s choices unfold. I see how the joys and pains he experiences bring forth a greater consciousness that most fully justifies a meaningful existence. We should choose to live life over and over again, with all the suffering and happiness, because it is through this journey that all things come to existence… all things can be seen. The cycle of knowing and then not-knowing, of birth and death, is that which humans are caught within… My only concern is that Obatala seems to only view life as the eternal punishment that man must face… Is it not also the great reward?

Theatre Seeking Spirituality

As evolution continues to gain prevalence in the minds of many around the globe and science and faith begin down a path that remains open to intersection, a new enlightened spiritualism has taken up the occupancy of my thoughts.

Jah Orisha: Son, your Gods are what you make them. Gods answer the names that you give them. It’s the power you have, son. To name, even your Gods! Don’t give up that power. Don’t give up that glory to name and create your own world.
Traveler-X: What? Did I hear you right? Did you say power to create my world? But I have no such power! (Onwueme, 20)

As I’ve come into adulthood over the past decade I have found myself disconnected from the religious traditions and ideas I grew up with. The world of theatre has become a place to question and pursue a new definition for spirituality and enlightenment in my life. Tess Onwueme’s "Riot in Heaven" has given rise to a new sense of power in my being. God(s) have always been the object of human worship, praise, and justification, yet how often do we acknowledge our own role/power in creating the God’s/Gods’ status? This is precisely what the above selection forced me to confront, and I realized that something I’ve begun to believe resonates boldly in the above passage from "Riot in Heaven."

We are not created in the image of God, but as God, here in this realm called the Universe. With both the power to create and destroy life, as well as give shape to that which we experience in our consciousness by naming, we can no longer lead an existence that releases responsibility to something we’ve named ourselves – God.

God exists within each and every creature of the universe – it is energy. Our study of Yoruba culture and performance makes me feel less awkward about the crazy improvisational movements I do to music in the privacy of my home that I claim to be exercise/aerobics. It’s expression. It’s me getting out that which is within…

We live a spiral existence, infinitely continuing along a path that we call time… yet indeed time does not exist. No past or future, only present choices that shape the now. This is where I wish to live, instead of a distant future. How could releasing the idea of an external God(s) encourage the citizens of planet Earth to take greater responsibility for their lives and choices? The path of one is the path of many, and we must see the importance of global community – theatre can help us to create that unity.

Suzuki, Shingeki, and Western Theatre

The way Japanese Theatre has evolved over the years is a very interesting global theatre discussion. The chapters we read for class today took us, as reads, comprehensively through the journey of modern Japanese Theatre. For me, the most interesting aspect of the reading was the Japanese desire for a more westernized theatre, its reception, the actual works theatre artists like Osanai and Suzuki produced, and the ways in which they challenged traditional Japanese Theatre practices.

The article opens up with a short anecdote about the Japanese Theatre artist Osanai and his desire to explore and produce realistic plays based on the work Stanislavski was doing at the Moscow Art Theatre. Osanai’s theatre, Shingeki admired, “the dramaturgy based on the dialectics of conflicting powers, the acting style aimed at the life like portrayal of individual characters…and the underlying assumption that the ultimate standard of reality is logical explicability. His travels to Russia allowed him to study Stanislavski and bring those methods back to Japan and in turn a brand new way of approaching theatre gave birth to a new Japanese theatre movement.

Suzuki jumped on this boat when he started producing theatre in mid-twentieth century. His early adaptations of plays like Macbeth, Death of a Salesman, and The Trojan Women had mixed reviews. However his merging of the traditional Kabuki with Realism gave way to a new “collage” theatre form that was widely received earned him the attention of the International theatre community.

As far as Global theatre is concerned Suzuki’s efforts are truly monumental. He found an interesting way to blend tradition Japanese theatre styles with a westernized theatre approach making him, in my opinion, the essence of what a global theatre artist should be. His efforts have helped to bridge the gaps between theatre styles from two completely different cultures and uses aspects of both to create a new. If we want to be successful “global” theatre artists we have to steal a page from his book and challenge ourselves to bridge gaps between more and more cultures.