Abstract
During the twentieth-century there were significant challenges to the notion of ‘presence’ in theatre. At the beginning of the century, traditional repertory theatre had been under attack for being superficial and frivolous. These critiques were accompanied by significant shifts in ideas about the role of theatre, and changing notions about what constitutes good performance. There were a number of remarkable experiments in acting practices and in the training of actors to be more present: notably those of Konstantin Stanislavsky early in the century, and later, the work of Jerzy Grotowski. These made demands on trainees for a higher level of engagement in performing their role. However, following French philosopher Jacques Derrida’s critique of ‘presence’ in the 1960s, a ‘postmodern turn’ in theatre studies and practice de-substantiated notions of ‘presence’ and re-framed them as illusions and subterfuge. Derrida’s critique was powerful and led to changes in understanding of terms like ‘presence’ and the actor’s ‘self.’ In hindsight however, the reach of philosophy had been exaggerated in assuming that this significant element of performance was necessarily disempowered by a challenge to its metaphysical substantiality. An alternative perspective is that a non-substantive and more enigmatic understanding of ‘presence’ enriches, rather than undermines, theatrical possibilities.
The chapter lays the groundwork for understanding ‘presence’ in terms of actions taken by an actor, rather than ‘presence’ as a metaphysical entity, and it prepares for a following chapter ‘Ethics and performance: enacting presence’ in which ethics is related to acting with heightened attentiveness and awareness.
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Notes
- 1.
Stanislavsky “drew significantly from” translations of books by ‘Yogi Ramacharaka,’ the American ‘lawyer-turned-metaphysician’ William Walker Atkinson.” Stanislavsky’s use of these books is carefully traced by White in ‘Stanislavsky and Ramacharaka’ [36].
- 2.
Without suggesting a direct link, this is to some extent a manifestation of Artaud’s desire for “a play composed right on stage” [1, p. 28].
- 3.
Although Carnicke describes this as a duality, I have suggested elsewhere that ‘immanent’ and ‘transcendent’ experiences come together in practice in a way in which they do not in theory [25].
- 4.
Apart from those influenced by Brecht and Brecht’s rejection of Stanislavsky on ideological grounds.
- 5.
When Grotowski “turned his back on performance” toward “paratheatrical” therapeutic “experiential events” his aim was still to enable “people to overcome their fear of their true selves” and to ‘bare themselves’ [2, p. 26].
- 6.
Nevertheless, there does remain a suspicion that for Derrida everything is text in the broader sense that text is always in play and there is no escaping text. We are not obliged however to conceive of all experience as reduced to its linguistic interplay.
- 7.
To put it in the affirmative: we can assert (pace Derrida) that there is meaning that escapes “the order of the sign” [13, p. 292].
- 8.
I am grateful to Paul Rae for directing me to these political concerns.
- 9.
Brook is well aware of this enigmatic quality in asking if the net (theatre) that catches ‘golden moments,’ is “made of holes or of knots?” [5, p. 85].
- 10.
Autopoiesis, meaning self creation or self production, was a term introduced by Chilean biologists Humberto Maturana and Francisco Varela to express a fundamental dialectic between structure, mechanism and function. See the following chapter for a discussion of Francisco Varela and ‘the enactment process.’
- 11.
Bṛhadāraṇyaka Upanishad 4.4.5.
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Acknowledgement
I am grateful to Dr. Paul Rae, Theatre Studies, National University of Singapore for his critique of an earlier draft of this chapter and for referring me to relevant material. Any remaining errors however are my own.
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Macneill, P. (2014). Presence in Performance: An Enigmatic Quality. In: Macneill, P. (eds) Ethics and the Arts. Springer, Dordrecht. https://doi.org/10.1007/978-94-017-8816-8_13
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