Enrique Found
At last I've made contact.
Tomorrow I fly to Barcelona to take part in two weekend courses run by Teatro De Los Sentidos and hope in the week in between to get finally to talk to Enrique and members of his company. What to ask I'll think on the plane.
It will be interesting to see how his processes compare with Cynefin's and what common elements there are. I suspect that there will be many but I've no idea yet.
I'm going to section off a large part of January, Februaury and March to knuckle down and create this maifesto and outline for a book. Less and less do I see the book as some kind of scholastic study of the medium with countless references to Living Theatre, Howard Baker etc. And more and more do I see it as an extended manifesto for a new kind of ancient theatre, one in which something elemental, a language older than words, is remembered and in its remembering the body is also re-membered and re-connected to the ground of being.
I must be careful, re reading that last paragraph, to make the book a theatre book and not a self-development or new age fancy. But I would like to ground it in current global situations and show how the paradigm in which current performance practices operate is not entirely redundent but is does not meet the demands for new ways of connecting, new ways of engaing and directing the attention of the audience.
Also crucial to the book is to unravel the nuts and bolts of the theatre interaction in a new language that is understandable to everyone and it's here that modern research into the mind and attention will be valuable. I really want to uncover what is happenning psychologically in a conventional performance setting and then contrast that with the Sensory Labyrinth setting to show how it is fundamentally different but also essentially and essential theatre. In fact, what perhaps theatre was meant to be.
Tomorrow I fly to Barcelona to take part in two weekend courses run by Teatro De Los Sentidos and hope in the week in between to get finally to talk to Enrique and members of his company. What to ask I'll think on the plane.
It will be interesting to see how his processes compare with Cynefin's and what common elements there are. I suspect that there will be many but I've no idea yet.
I'm going to section off a large part of January, Februaury and March to knuckle down and create this maifesto and outline for a book. Less and less do I see the book as some kind of scholastic study of the medium with countless references to Living Theatre, Howard Baker etc. And more and more do I see it as an extended manifesto for a new kind of ancient theatre, one in which something elemental, a language older than words, is remembered and in its remembering the body is also re-membered and re-connected to the ground of being.
I must be careful, re reading that last paragraph, to make the book a theatre book and not a self-development or new age fancy. But I would like to ground it in current global situations and show how the paradigm in which current performance practices operate is not entirely redundent but is does not meet the demands for new ways of connecting, new ways of engaing and directing the attention of the audience.
Also crucial to the book is to unravel the nuts and bolts of the theatre interaction in a new language that is understandable to everyone and it's here that modern research into the mind and attention will be valuable. I really want to uncover what is happenning psychologically in a conventional performance setting and then contrast that with the Sensory Labyrinth setting to show how it is fundamentally different but also essentially and essential theatre. In fact, what perhaps theatre was meant to be.
posted by ArmchairDJ at 9:55 am
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