By translation and notes by John Willett.
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Extra info for Brecht on theatre : the development of an aesthete
Example text
In other words, it argues that the ontological structure of the social is revealed as being fundamentally theatrical as well as intrinsically relational, the logic of co-appearance being predicated on the recognition that ‘there is no society without the spectacle of society’, because essentially ‘society is the spectacle of itself’ (Nancy 2000; 66–7). The work of SRS not only makes this foundational relation apparent in the structuring of the theatre event, but renders it explicit through the orchestration of historical material as its ostensible content.
As the company gather together ‘to bow to the people’, the staging re-emphasises the relationship between the stage and the auditorium as presentational as much as representational, ontological as much as semiotic. The people in the audience are invited to see themselves alongside the people on stage – the performers, that is, rather than their ‘characters’ as such, although the line between them is constantly blurred by theatricality – as the people of contemporary Europe, still living through the reality and effects of the catastrophic events of twentieth-century European history, and facing up to that reality at the very moment of the century’s passing.
This process of thinking back not only takes the form of memory, ‘the thinking back of what is to be thought’ (Heidegger 1977: 376), but also of a reciprocal inquiry into the ontological meaning of the century. The presence of the audience – those 37 38 Theatre and Event of us there, together in the theatre space, watching the real-time of the performance – provides the artistic ground for both its representation of historical memory and contemporaneous explication of the present in its historicity.