Aesthetics in Present Future by Antomarini Brunella; Berg Adam; Cohen Alain

Author:Antomarini, Brunella; Berg, Adam; Cohen, Alain
Language: eng
Format: epub
Tags: undefined
Publisher: Lexington Books
Published: 2012-01-07T16:00:00+00:00

In fact, the actor is constantly scrubbing throughout the play. The audience thereby is enmeshed in his hypnotic movements, repetitive and simple. The circularity of these motions communicates a meditation on the circularity of life: as on the tactile presence of one person’s spirit in the objects he or she relays to others; in the simple acts connoted by a boot or a skillet—eating, feeding, serving others; and in the metallic material of the skillet itself, forged in heat from different metals, shaped by human hands, withstanding of fire when it is exposed to it once again. The cleaning of the skillet or pot, the shining of a boot, may enact the Brechtian gestus: using a gesture on stage that refers to the broader social significance of the gesture or object.[11] But the use of the gesture is also something different in its mesmerizing kineticism. It seems to enfold the audience into a shared moment of co-created spirituality. So, while the play uses the episodic style common to Brecht and makes use of scene titles that suggest a pointilistic rather than smooth scenic progression, in other ways it develops Brechtian elements in a direction that emphasizes kinesthetic elements and a muted, meditative spiritualism. In this meditative use of time, the connection between things and people is not “instant” as it may be in a digitized reality—for example, as one writes an email, instant messages, sends a tweet, or checks the Web. In this kineticism, the audience becomes more aware of time as circular and cyclical—or, as may be explained, more mythical.

In Nietzsche, Kant, and Deleuze, modeling of time as related to repetition can fall into polarities between a circular and linear model. In Difference and Repetition, Deleuze considers the connection between different models of time and finds in repetition not sameness but difference: “Difference lies between two repetitions.”[12] This is not the inevitability of seasonal or cyclical time, which suggests a determinism in which the subject takes a passive role. Instead, Deleuze connects the idea of repetition as a linking of events each of which is constituted by moments of presence. In performance, the repetitive motions created by Franz are never the actions of a bored man; rather, they are his way of affirming his existence and his connection to the past and future. These are moments in which the character is “hyperpresent,” in the sense of Deleuze’s notion of repetition. Interestingly, they are also actions that link the audience kinesthetically to time in an actively present way.

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