By S. Bayly
Exploring the topics of the development, ephemerality and democracy that mark the come upon among functionality and philosophy, this unique examine elaborates clean views at the stories of undoing, fiasco and catastrophe that shadow either the either level and lifestyle.
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Extra info for A Pathognomy of Performance
Are the only important events those that alter states of affairs on the grand stage of history? ’5 What is explored here is the possibility that, in its minor forms, disaster becomes less easy to differentiate from fiasco, but no less significant in its ability to shape experience. ‘Fiasco’ is a strange term of Italian origin, meaning literally ‘the bottle’ and metaphorically, the interruption of a theatrical spectacle. More generally, it evokes the notion of collapse, disintegration and disaster mixed with a sense of the ludicrous and implausible.
What is it that they are asking us to witness while we wait for what has been promised? 32 A Pathognomy of Performance Such opening moments might best be considered as the inverse of the curtain call, that time-honoured theatrical ritual in which actors and audience supposedly unite in the necessary self-disclosure of illusion. Like the interval, the curtain call does not feature prominently in the theoretical literature of performance: in theatrical practice as well, the curtain-call has been all but eliminated in work that wishes to distance itself from convention.
The dress is deftly unhooked, the performer released, and in a reverse movement of the breakdown that has occurred, the professionals take control. Everything on stage morphs seamlessly back into the space-time of the play. In a parallel motion, the young audience withdraws into itself, unhooking an attention that had also been caught on that nail, coagulating again around its own substance and sustenances. The performance must have gone on to conclude as it usually does, Burnam Wood did come to high Dunsinane Hill, everything went off pretty well, despite the embarrassing hiccup.