By Charles Lamb
This paintings offers a research of British playwright Howard Barker. the writer starts off via evaluating Barker to Edward Bond with the purpose of unveiling what he perceives as being their diametrically antagonistic suggestions concerning the functionality of drama. This e-book additionally appears to be like at Barker opposed to the area of deconstructive and postmodern concept, which ends up in the author's "Theory of Seduction", within which Barker's performs are thought of from an attitude derived from Baudrillard's principles approximately seduction.
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Extra resources for Howard Barker's Theatre of Seduction (Routledge Harwood Contemporary Theatre Studies)
Example text
It is in this respect, however, that some have seen a significant role for Art— one of whose traditional postures has been to oppose ‘Life’. Lyotard, for one, lays special stress upon this in a published interview with Brigitte Devismes: —I believe it is absolutely obvious today, and has been for quite some time that, for one thing, the reconstitution of traditional political organisations, even if they present themselves as ultra-leftist organisations is bound to fail, for these settle precisely into the order of the social surface, they are ‘recovered’, they perpetuate the type of activity the system has instituted as political, they are necessarily alienated, ineffective.
Because the ‘real’ world is admitted only in so far as elements of it are filtered through the characters, then authoritative discourses are only perceived as objects of human consciouness— created, sustained and discarded through those consciousnesses. The individual subject is primary—all the rest is secondary. This relegation of the external 30 HOWARD BARKER’S THEATRE OF SEDUCTION enables the drama to generate its own movement—an element which is identical to Aristotle’s recommendation of unity of action.
17. The ‘great’ scientist is presented in the ideologically acceptable stereotype of ‘the genius’, but the principle alienation effect of the play lies in portraying him as an anti-hero: he is selfish, greedy, dishonest, arrogant and cowardly. In short, the audience are invited to criticise everything about Galileo except his science. Brecht, who acclaimed himself ‘the Einstein of the new stage form’,18 states in his notes on Scene 14: What needs to be altered is the popular conception of heroism, ethical precepts and so on.