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.