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Fabrizio Crisafulli, Organic Light: Self-Analysis of Research in Progress

This is an excerpt from the final chapter of Fabrizio Crisafulli’s book Active Light: Issues of Light in Contemporary Theatre (2013). It examines the complex interrelations of place, body, and light in several of his productions and dwells as well on his innovative approach to theatres of light and mobile architecture.

 

Irene Eynat-Confino, Theatre Space and Authenticity: From a Non Sequitur to a Real Make-believe?

With the problematization of knowledge in postmodernism and its aftermath, there has been a renewed interest in the notion of authenticity and various definitions of the term are presently at work in arts and humanities. It is therefore of consequence to examine the import of the notion of authenticity within the context of theatre space, given that the aesthetic juxtaposition of authenticity and make-believe is apparently a non sequitur. However, once the common denominator of the various running definitions established, it is the implications and the questions arising from the study of recent productions explicitly aimed at achieving authenticity that should be of concern. As it is, current technologies employed in theatre space design enroll the make-believe in order to achieve a heightened sense of authenticity and thus bring us closer than ever to Gordon Craig’s concept of representation in theatre.

 

J. Michael Walton, Craig and the Greeks

With a theorist and practitioner such as Craig, whose life and accomplishments have been laid bare over more than a hundred years, any fresh thoughts are likely to relate to revisiting actual or perceived areas of influence. In this article I want to tackle the issue in a slightly oblique way and look for a through line that links him to the revival of interest in classical Athens and all things Greek that began in Britain at the end of the eighteenth century but became bogged down in Victorian Romanticism. Craig, I wish to suggest, was largely instrumental in freeing Greek tragedy, both from the pristine, white marble image which the Victorians had foisted upon it, and from the equally insidious tyrannies of literature and anthropology. I regret that it has not been possible to include visual material but footnotes will indicate where illustrations are most readily available in print.

 

Danuta Kuznicka, New Theatre Venues in Warsaw and Foucault’s concept of Heterotopias

Since the political watershed of 1989 in Poland and especially since its accession to the European Union in 2004 that entailed the rise and fall of numerous enterprises, new opportunities have come into being for theatre groups and actors alike. Subsidized by various institutions that support cultural activities, theatre people sought out places for their work and performances and these were found in disused cinema houses, abandoned industrial sites, tenement houses and depots. Although all the principles of heterotopias described by Foucault are of relevance to the theatre places discussed, the third point concerning the juxtaposition of several spaces in a single real place, as well as the fourth one regarding the slices of time seem to be particularly significant. Because of the interplay, both real and imaginary, of several spaces and times that they contain, the heterotopian theatre sites in Warsaw are often the subject of public debates but the presence and activity of theatre groups in new surroundings brought to public attention a variety of historical, social, political and cultural issues and in many cases they have influenced the planning strategy of the city’s development.