Witnessing Woyzeck: Theatricality and the Empowerment of the Spectator

Rokem, Freddie

doi:10.1353/sub.2002.0038

Cited by 5 publications

(2 citation statements)

References 4 publications

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“…As Freddie Rokem notes, this kind of meta-spectatorship prompts audiences to register their own spectatorship. 76 More importantly, it draws attention to the spectatorial gaze per se. For Rau, 'The question of the gaze, the human, the divine, and the view of the camera, is the real fundamental question of Mitleid.'…”

Section: Sipérius and The Gazementioning

confidence: 99%

Making the Representation Real: The Actor and the Spectator in Milo Rau’s ‘Theatrical Essays’ Mitleid and La Reprise

Young¹

2021

New Theatre Quarterly

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Exceptional in demonstrating the political engagement emerging in twenty-first-century performance is the corpus of the writer and director Milo Rau, whose practice is distinguished by its (re)meditation of the real. With detailed reference to Mitleid (2016) and La Reprise (2018), this article examines Rau’s self-reflexive strategies in (re)presenting testimony or an event as a means not of depicting the real, but of making the theatrical representation itself real in order to change the world rather than merely to portray it. The article focuses in particular on strategies relating to the actor-character and spectatorship. Rau’s interest in the positions of the actor and spectator illuminates issues that have arisen in the discourse of theatre witnessing and in recent scholarship on dramaturgical approaches and spectatorship in contemporary political performance. Essentially, Rau makes the performer’s habitus transparent, and challenges the spectator’s reflexivity, effectively rebutting the largely unchallenged assumption that characters who perform witnesses necessarily leave little room for the spectator to be a performing witness. Stuart Young is Professor of Theatre Studies at the University of Otago. His recent publications include the co-edited Ethical Exchanges: Translation, Adaptation, Dramaturgy (Brill Rodopi, 2017), while his practice-led research into Theatre of the Real includes The Keys are in the Margarine: A Verbatim Play about Dementia (2014).

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Section: Sipérius and The Gazementioning

confidence: 99%

Making the Representation Real: The Actor and the Spectator in Milo Rau’s ‘Theatrical Essays’ Mitleid and La Reprise

Young¹

2021

New Theatre Quarterly

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“…We have also considered the ethical concerns of our project in relation to concepts of witnessing as informed by Etchells (1999), Schaefer (2003), Wake (2008) and Rokem (2000Rokem ( , 2002. Etchells believes that the role of contemporary theatre is to produce witnesses rather than spectators so that an audience is 'unable to stop thinking, talking and reporting on what [they've] seen ' (1999: 18).…”

Section: Ethical Concernsmentioning

confidence: 99%

Life narratives and The Centre: a call for action

Loth

Brock

2018

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This paper explores the creative development of The Centre, an emerging play that reimagines Ancient Greek tragic characters as modern-day asylum seekers detained in an offshore detention centre. The construction of the play blends fictional character constructs of the Ancient Greek characters with information from reports on contemporary asylum seekers. While life narratives normally focus on the lived experience of one person, reimagined through a creative framework, The Centre uses multiple accounts of asylum seekers sourced from the public domain. The Centre is an attempt to work creatively at the borders of fiction and documentary theatre to highlight a contemporary issue through the self-conscious reframing of classical stories.

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‘What About the Burn Their Bra Bitches?’: debbie tucker green as the Willfully Emotional Subject

Reid

2020

Debbie Tucker Green

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Witnessing Woyzeck: Theatricality and the Empowerment of the Spectator

Cited by 5 publications

References 4 publications

Making the Representation Real: The Actor and the Spectator in Milo Rau’s ‘Theatrical Essays’ Mitleid and La Reprise

Making the Representation Real: The Actor and the Spectator in Milo Rau’s ‘Theatrical Essays’ Mitleid and La Reprise

Life narratives and The Centre: a call for action

‘What About the Burn Their Bra Bitches?’: debbie tucker green as the Willfully Emotional Subject

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