By H. Grehan
This e-book takes functionality stories in interesting new instructions, exploring the ways that ethics can be utilized to appreciate the advanced questions dealing with modern spectators. enticing with 5 key performances, the publication displays at the emotional and highbrow affects of politically inflected functionality on spectators, critics and theorists.
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Extra info for Performance, Ethics and Spectatorship in a Global Age
Example text
The act of witnessing this in performance, and the cruelty inherent in the rejection and the loss of life that resulted, generated a feeling of shame so profound that I wanted to flee the performance space and indeed the nation. Similar reactions are discussed by other respondents to the performance, Philippa Wehle, for example states that: After five hours of intense encounters with lives lived and lost in countless odysseys, one is left inevitably with a deep sense of indignation and sorrow coupled with the determination to try to find some answers to the complex refugee situation.
In Giulio Cesare, a man who Genesi: The Spectator and ‘Useless Suffering’? 41 has a laryngotomy performs Mark Anthony. Castellucci believes that an actor who has undergone a laryngotomy can perform with a ‘new voice ... ’ There is a sense here that the technology and the wound combine, as Castellucci explains, ‘to make the speech truthful, outrageous, and moving’ (in Valentini and Marranca, 2002: 21) and to unsettle expectations surrounding bodily and representational forms and limits. Two anorexic performers play Brutus and Cassius while Cicero who ‘drives forward Shakespeare’s text the most, who has the most weight because he inspired the conspiracy’ (in Valentini and Marranca, 2002: 21) is performed by a man weighing 240 kilograms.
Ambivalence, as I understand it, then, is a form of radical unsettlement, an experience of disruption and interruption in which the anodyne is challenged. Ambivalence keeps spectators engaged with the other, with the work, and with responsibility and therefore in an ethical process, long after they have left the performance space. Nicholas Ridout speaks of another similar engagement with and in the theatre Situating the Spectator 23 and he describes this as ‘embarrassment’. He talks in some detail about the relationships between this and shame, and while Ridout’s embarrassment is slightly different in focus from my notion (following Bauman) of ambivalence, his description of its effects can be usefully applied to the experience of ambivalence, Ridout says there is something in the appearing that takes place in the theatre that seems capable of activating in an audience a feeling of our compromised, alienated participation in the political and economic relations that make us appear to be who we are.