By Richard Gough
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Additional resources for Performance Research 2:1
Example text
Perhaps. In any case, this was a powerful, unmistakable statement: through this Hemingway/Jansen figure, Lauwers was confronting the audience with a longing it knows only too well, but which it usually denies. Because our culture literally no longer offers any space for death or dying. After the studies of Philippe Ariès and others, it is a cliché to describe modern culture as inimical to death. Death has indeed become taboo, surrounded by a mist of silence, a terrifying silence. The less it occupies a public position—in the form of public rituals or collective memorials—the more death inspires every individual with fear.
None the less they were listening to Arcade’s monologues night after night, with more enthusiasm and understanding (the speeches are about suffering in an entertainment society) than the cosmopolitan audience. I keep talking of the authentic in performance opposed to amateurs, because I want to cover a wider aspect than just experience or training. Filmmaker Robert Bresson uses exclusively non-professionals in his movies in order to have innocent faces and behaviours at hand. He calls them ‘models’.
It might be true that, beyond my professional interest, I responded so strongly to these performance examples because I am entering middle age. At 36 without children I feel the urge to connect with the stream of life, with the continuation of generations. When I was younger I was not at all eager to connect with any continuation; if anything I wanted to stand out, at least step out of the repetitive wheel of time. I see other theatre-makers of my generation dealing with the continuation of generations; for example, Robert LePage with his Hiroshima project.