From Event To Extreme Reality The Aesthe
From Event To Extreme Reality The Aesthe
From Event To Extreme Reality The Aesthe
Josette Féral
UQAM
balance for their power, and it also provides the clearest method
1
A shorter version of this paper was presented at the
colloquium’s “Theatrical Knowledge and Performance” [“Savoirs et
Performance Spectaculaire”] (Brussels, April 23-24, 2010). The
French version of this text has appeared in the Colloquium
proceedings. « Le Réel à l’épreuve de la scène : l’esthétique du choc » in André Helbo Savoirs et
représentations, De Boeck, avril 2011. (2011).
2
breach between the real and the theatrical, the representative and
mind, with his dancing and singing actors (notably Benoît Gob at
climber who nimbly climbs the walls of the Palais des Papes in
hour).
To these more and more common on-stage examples, one can also
or even Pippo Delbono, whose actors Bobo, who is mute and deaf,
homeless man, bring their physical limitations onto the stage. The
different variety) twenty years ago when they used actors with
3
real event.
order to analyze their outlines and examine what they reveal about
this very unusual relationship to the real and the links they have
The first example is the softest. Rwanda 94 is a six hour Commentaire [JF1]: Photo 1
film excerpt within the play. This film shows thousands of deaths
caused by the genocide and all the violent acts that the event led
to. One scene, just a few seconds long and shot from a distance,
2
Jacques Delcuvellerie is a French director who settled in
Belgium. He has founded the GROUPOV in 1980 and has directed it
ever since.
5
with a machete3.
horror of the act happening before our very eyes. The action
3
One could also add the true first hand account of Yolande
Mukagasana, a survivor of the genocide, who tells the story of
the deaths of her three children and her subsequent escape in
the opening of the film.
4
I would like to add one important peripheral detail that
demonstrates that the screening of such scenes must be done with
caution in an artistic context. In effect, when it was shown at
the opening of a FIRT (Fédération Internationale pour la
Recherche Théâtrale) conference in August, 2001 on Transactions:
Culture and Performance, held in Sydney, Australia, this scene
6
faced with the act committed, but also incredulity. Are they
the stage?
the factual, and thus the present, to emerge on stage. They create
face with a reality that has emerged where they least expected it,
its more extreme forms, can stage uncensored deaths (of animals,
action.
emergence and the nature of the action5. In all these cases, the
is the staging of another’s death that, much like the Roman arena,
actor and performance and illusion of any sort. The thinking that
5
The procedure is not new in itself. In the past, companies such
as those of The Living Theatre or Boal’s “invisible theatre”
made abundant use of this method. More recently, companies such
as Fura dels Baus, Hotel Pro Forma and directors such as Victor
Garcia, Jan Lauwers, Alain Platel, Pippo Delbono, Romeo
Castellucci, Christoph Marthaler, and Heiner Goebbels have all
used this process. However, their objectives, and the effects
they obtain, are entirely different from the effects obtained
here because they are not evoking death, whether the death of
humans or of animals, through violence.
9
Lacoue-Labarthe.
time. This place and time are not those of the performance, but an
“other” space, where they are faced with actions that “disturb”
the spectators and modify their gaze and the tacit contract, once
Artaud, the Living, and Grotowski that still affect the stage, it
action, the risk that the artist voluntarily undergoes, and the
factual6.
is this framing that gives the event meaning, and that makes it
by theatricality.
6
I believe that in certain cases, particularly those I mention
here, it is incorrect to say that in these cases, the action has
no referent outside of the present moment. In effect, in the given
examples, even if we are plunged into reality and death is being
directly experienced, even if the performativity of the moment
dominates the artistic framework, the absence of referents beyond
the stage that forms the basis of the definition of performativity
is illusory.
7
Elsewhere (see Féral, Theatricality issue, Substance, vol.
31, no 1 and 2, 2002, 318 p, pp 3-13), I have stated that
12
theatricality and try to eradicate it. The work may explore its
that the artistic envelope causes the event to lose some of its
that if the Hutu rebel completes an action, if the film “shows the
8
Fried, Michael. Absorption and Theatricality painting and
beholder in the Age of Diderot. Berkeley, University of
California Press, 1980.
14
within the action, they are in the absolute presence of the event,
the action and the moment. Like the performer, the spectators are
9
But they can also choose to remain outside of the action by
deciding to observe it with indifference.
15
least moral.
observes that the question this raises is how to “reread the image
Batalla de Chile: la lucha de un pueblo sin armas11 [The Battle of Commentaire [JF2]: Photo 2
writes:
political turmoil12.
among other things, the events of June 29th, 1973, Patricio Guzman
Jorge Muller Silva, who died before Guzman’s eyes as he filmed it,
10
I would like to thank Emilie Houssa, whose thesis, currently
in progress at the University of Quebec at Montreal, introduced
me to this example through a presentation given at our 2007
research group, “Theatricality and Performativity.”
11
The film comes in three parts : La insurrección de la
burguesía, 1975; El golpe de estado, 1977 ; El poder popular,
1979.
12
http://www.editionsmontparnasse.fr/titres/la-bataille-du-chili
17
not see the cameraman fall. They only perceive the effect through
Jorge Muller Silva’s camera films the soldier aiming at him, and
then the image flickers. The screen goes black. The camera goes
out. These few seconds are weighted with emotion. The spectators
never see the cameraman behind the lens, but they sense his
death.
prior to it. For a few moments the audience leaves the documentary
transmission of information.
from reality, because the images that make up the film reconstruct
death jars the spectators and draws them out of the artistic
effect, even though the image has caused the event to emerge into
aesthetic component.
13
It would also be possible here to discuss the well-known
performances of Chris Burden and Serge Oldenbourg, who both play
with the idea of their own deaths, framing them with a staging
where risk flirts with death. The most striking examples are
Burden’s Shoot (1971) and Oldenbourg’s Solo pour la Mort [Solo
for Death]. In Shoot, Burden asks his assistant to shoot him in
the arm with a 22 calibre long rifle (California, 1971); in Solo
pour la Mort, Oldenbourg plays Russian roulette with a revolver
in front of an audience (1964). Of course, Serge Oldenbourg’s
action in actually playing Russian roulette in front of 400
spectators gathered in the Expression Libre gallery is more
extreme than that of Chris Burden, who, one imagines, chose a
friend who was a good shot, or the action of Franko B in pushing
the boundaries of sacrifice to the point of symbolically opening
his own veins. In the case of Burden, it is a question of
assumed risk, in that of Oldenbourg, it is a deadly game where
it is understood that death can intervene unexpectedly. In both
cases, the spectators are confronted with an experience at the
limits (and of the limits).
Of course, such performances overturn the balance of
representation, jar the spectators and shake their perceptual
habits. Yet paradoxically, Ardenne claims that the artistic work
limits this, causing such performances to lose some of their
extreme nature through the very fact of being representations.
20
entitled “Théâtre du Monde” [“Theatre of the World”], placed Commentaire [RS3]: I think Meiling
discussed this work in her TDR article. If
so, reference it. Surely she discussed
grasshoppers, cockroaches, tarantulas, millipedes, lizards, skinks parallel « l ive death » art. I HAVE NOT
BEEN ABLE TO FIND THIS
REFERENCE
and scorpions under a dome shaped like a turtle’s shell. According
Commentaire [JF4]: Photo 3
also turned away from a Vancouver art gallery for ethical reasons
fact that the work placed animals that prey on each other into the
not come from the nature of the work itself, because the various
14
Born in 1954, the Fujian province in China, Huang Yong Ping
created the DADA Xiamen group in 1986. Among the most radical
Chinese artists, the members were inspired by the works of
Marcel Duchamp, the Dada movement, and risk in the artistic
world. Following his participation in the 1989 exhibition
Magiciens de la Terre [Earth’s Magicians] at the Centre
Pompidou, Huang Yong Ping has lived and worked in France while
exhibiting internationally. “Huang Yong Ping denies that art
evolves in a closed loop. He believes that it is both difficult
and dangerous to portray actual events without illustrating them
and without using the sensationalism of the event itself. All of
his work is devoted to this experimental examination. As a
creator, he seeks to understand how art can establish
relationships with society without losing its independence […]”
(http://artsup.fr/JPGP/JPGP_Huang_Yong_Ping.htm). He observes:
“As soon as art becomes slightly subversive, it is not
understood or rejected, it’s sad”
(http://alaintruong.canalblog.com/archives/2007/04/08/4562896.ht
ml).
21
the world, or even from the bullfights that are a national sport
in this case the work is located firmly within reality and carries
the animals devour each other, deaths occur, and the aghast,
here. The artist does not construct the work out of concern over
for the violence of the world. The work has become tautological,
order to see it, we need that distance that places artistic works
310)
Or rather (44):
one that is not in me, but beside me, one that I do not
15
Paul Ardenne adds: “The opposite is true for the extreme
spectacle, which allows for this upheaval, because it is extra
or super. The power of the extreme spectacle lies in its power
to disturb, its capacity to violate comfort, to break down our
defences, to genuinely push us into panic. In this case we are
buried in emotion to the point of being physically incapable of
response. In other words, jarred, damaged. Is this the pinnacle
of emotion? It seems to be due to this unique quality of the
extreme spectacle, where emotion is thoroughly exploited, with a
maximum return: the art of degradation” (96).
25
the tacit contract with the spectators and that wants all
the stage towards performance and not the theatrical stage. Paul
manifestations.
form of “how far can art go?” but rather as “how far is the
16
See Richard, Schechner [2009]. « 9-11 As a Work of Art ? »,
PMLA 124, 5: 1820-29.
17
Baudrillard proposes that the only response possible after
such an event is an analysis that is “eventually just as
unacceptable as the event itself” (Baudrillard 2002, 24), a
radical notion that does not attempt to make sense of the event.
“The challenge is no longer in the explaining, but in a duel, in
27
colour, light…).
aesthetic perspective.
distance between the observer and the observed. But there are
obscene violence. Yet this execution, just like the gaze that
experienced by those who have seen the video clip. This example,
event or a work.
the screen and turned off the sound.” Another reaction: “Yes, I
have seen that video, and words fail me to describe it… I think
felt. I’d like to turn the clock back a few hours so that I
30
could choose not to see it, but it’s too late.” Yet others said:
thought I was pretty callous, and I was crying by the end. The
screams, and those men who wouldn’t stop! I regret watching the
tape and I think I’ll regret it for the rest of my life!” (2006,
comes from the fact that the event is not framed by any
they are even pleased by the clash that jars and provokes
18
The theatrical contract postulates a stage fiction even if the
theatre has incessantly questioned that illusion since the
nineteen-sixties.
31
yet they are not extreme. Even considering the risk of disaster,
This is not the case for the website Rotten.com, which Ardenne
refers to. The site offers the worst insanities that can be
submitted to the eye. The site presents real images in their raw
eliminating any story that goes along with the image. And it
succeeds.
related to murder.
References
Flammarion, 2006.
Minuit, 2003.
et 2, 2002, 318 p.