Thought on Theatre I
Theatre has filled part of my life. It came unexpected, and came as a water torrent crashing and carrying me somewhere far, and it came with irony.
The first time ever I got in a theatre has been on April the 24th, 2012, and I did it facing the audience, on the stage as an (amatorial) “actor”. The play was Midnight at Havana written by Yu Rongjun and it did opened my mind, all the experience: from the very beginning to the last performance.
Since then, it has been a love story, yet a quite sad. One of those love story you know that will soon expire, vanish as suddenly as it appeared. Though powerful and passionate, the real story comes after, in the everlasting search for it, in a hope to find it again and to meet it like the first time, with the same magic.
It’s difficult. Chances are we lose the reason, the faith, life asks for its debts to be repaid, and we’re called to answer forgetting what really matter.
I miss making theatre, I miss living it and watching it happening and I am still looking for it, somewhere, sometime. What for, I keep wondering: is it because it create new illusions, new lifes? Probably, but I do feel there is something deeper, something rooted in our primitive nature and in our need to express a total different world, an idea (or a non idea).
It’s maybe the act of creating (even in a deconstructionist way of acting) that gives birth to all the energy in a theatre, in a rehearsal room or between a watcher and a watched.
I am creating possibilities, and through them something might or might not happen.
Ritual, also like performance, is a liminal event. The word liminal comes from the Greek limnos, or threshold. A liminal space is a state in between, or a transition between different states. A liminal space is not useful or productive in any concrete or materialistic fashion. It is a transitional space, neither practical nor constructive, in the real of day-to-day living. Like the space of a doorway between rooms, it lacks concrete definition because even though it conveys something from its previous stage, it has not yet become the new oneAnne Bogart
In China there is a long theatre tradition, and contemporary productions offer interesting examples, for instance those of Meng Jinghui, Tian Qinxin and Lin Zhaohua. However, more than the quality of their theatre, the point that hit me most is the incredibly high prices of these productions.
Would be hypocritical to say that theatre, and all the art exhibitions, should be free. However, price should not be a high obstacle for people willing to enjoy it.