Johann Wolfgang Goethe: Iphigenie auf Tauris (Textausgabe + by Johann Wolfgang von Goethe, Mario Leis
By Johann Wolfgang von Goethe, Mario Leis
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Additional info for Johann Wolfgang Goethe: Iphigenie auf Tauris (Textausgabe + Lektüreschlüssel)
Differently from the participatory practices of French theatre in the 1960s and 1970s, the spectator is not encouraged here to take part in a theatrical event scripted in advance and controlled by the performers; rather s/he is free to negotiate with the relational event as s/he deems fit. Whereas Bourriaud’s concept of participation devalue traditional notions of aesthetic experience, positing politics as something that occurs in proximity to rather than in or through the artwork (for instance, in the social relationships it enables), Jacques Rancière, by contrast, argues for the a priori political nature of aesthetics.
There are no criteria. There are formulas that are equally available whose meaning is often in fact decided by a state of conflict that is exterior to them’ (2006b: 61). See also, in this context, his essay The Emancipated Spectator (2009). 29. This desire to provoke in the spectator a renewed way of perceiving reality dates back in France to at least Jarry, who condemned the commercial theatre where people ‘[suffer] from a dearth of sensations, for their senses have remained so rudimentary that they can perceive nothing but immediate impressions’ (1997: xxxiii).
Inspired by these examples, many young directors saw their future in the exploration of all the corporeal and visual aspects of theatre production. Roger Planchon had developed a theory of écriture scénique (scenic writing) as the creative contribution of the director, to be put on a par with the écriture dramatique (dramatic writing), supplied by the playwright. These developments coincided with a period of steadily increasing state subsidies for theatre, and the result was a range of highly imaginative, visually rich productions, in which directors such as Planchon, or Patrice Chéreau, took on the role of cultural critics, presenting not just the familiar plays of the repertoire, but offering a critique of their historical period and (applying lessons learned from Brecht) emphasizing links with contemporary social and political reality.