By Nichos Nunez, Ronan Fitzsimons

During this paintings the writer strains his researches with Grotowski and Strasberg, on the outdated Vic in London, and in Nahuatlan and Tibetan theatre to reach at his layout for a distinct participatory theatre shape. The textual content additionally presents a realistic consultant to the author's ritual/theatrical "actions" in addition to providing a philosophical context for this paintings.

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Additional info for Anthropocosmic Theatre: Rite in the Dynamics of Theatre (Routledge Harwood Contemporary Theatre Studies)

Sample text

This expansion must go beyond socio-psychological conflict so as to give us a new distancing which lets us understand our commitment as human beings in relation to ourselves and to the world. This means realising that we are submerged in a movement which transcends our human condition; we see revealed to us the fallacy of many of our mental structures which we treat as material social institutions, and the majority of which are not only disjointed, but also, at times, work actively in the opposite direction to the expansion of the consciousness.

He also notes, “in short, by 1524, many professionals connected with dramatic performances were idle, men who had received the acclaim of throngs in public places and had served the ruling class before the cataclysm, and now—in 1524—the ruling class was the Franciscan order. ” Horcasitas then goes on to pinpoint the intention of the Franciscans: “the missionaries proposed, through theatre, to change the mentality of peoples who did not know the religion brought by the Europeans. They expected Mexican aborigines, through audio-visual methods, to abandon their age-old cultural and religious features, some of which dated back to Teotihuacan and Tula.

Miguel León Portilla is a Mexican anthropologist and historian, as is Alfredo López Austin. Gabriel Weisz is a Mexican theatre director and professor of theatre. 4 Fernando Horcasitas: Teatro Náhuatl, (Mexico City: UNAM, 1974). All of the following quotations from Horcasitas come from this source—pp. 45; 50; 53; 54; 57; 74; 75; 77; 87; 104; 111; 141; 169. NAHUATLAN THEATR 21 With this reference framework, we can imagine the number of ritual, social or entertaining dramas which emerged in the Nahuatlan language.

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Anthropocosmic Theatre: Rite in the Dynamics of Theatre by Nichos Nunez, Ronan Fitzsimons
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