The Use of Play and Things within Forced Entertainment Theatre’s Shows, Bloody Mess and The World in Pictures
Forced Entertainment Theatre Company presents a theatre that defies all attempts at categorization and that can be defined by fragmentary narration, deconstruction of character, as well as voluntary misusage of traditional scenic tools. Entertaining chaos and playful performance function as landmark...
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| Pubblicato in: | URI:https://journals.openedition.org/ebc, |
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| Autore principale: | |
| Natura: | Article ou chapitre numérique |
| Lingua: | Anglais |
| Pubblicazione: |
Études britanniques contemporaines
2019
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| Accesso online: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:ebc_6038 |
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openedition |
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openedition-oai:revues.org:ebc_6038 https://doi.org/10.4000/ebc.6038 urn:doi:10.4000/ebc.6038 en https://journals.openedition.org/ebc/6038 2019-04-05T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/fe8p https://creativecommons.org/licenses/by-nc-nd/4.0/ The Use of Play and Things within Forced Entertainment Theatre’s Shows, Bloody Mess and The World in Pictures Études britanniques contemporaines Presses universitaires de la Méditerranée info:eu-repo/semantics/reference/issn/2271-5444 info:eu-repo/semantics/reference/issn/1168-4917 URI:https://journals.openedition.org/ebc Déchery, Chloé Forced Entertainment Theatre Company presents a theatre that defies all attempts at categorization and that can be defined by fragmentary narration, deconstruction of character, as well as voluntary misusage of traditional scenic tools. Entertaining chaos and playful performance function as landmarks for an essentially visual and physical theatre where the situation prevails upon the text. And indeed, things pile up very quickly on stage. Accumulation and saturation are images that are derived from the discovery and acquisition of the things gradually amassed during rehearsals. Here, the proliferation is an indication of theatricality pushed to its utmost limits; things are the indicators of failure or at least of the undermining of traditional drama where pure play prevails over the making of a narrative. But, once it has been manipulated, a thing becomes an object—conceived in relation to the subject/performer perceiving it—it becomes the focus of actions and relations. In this context of playful creation, objects, first submitted to strange manipulation, are also opportunities for new events and conflicts. Objects facilitate play: they create a new domain and develop relationships as well as disorder. However, with Forced Entertainment, a thing never stays an object for long: quickly abandoned, it reverts back to a thing, becoming once again a possibility, signifying not only what it once was at a certain moment, but also what it could have been and still might become. Thus, when becoming a thing again, an object is in fact no longer quite the same thing; from this moment on, it has a past. Forced Entertainment’s playful and daring theatre deals with this issue: the successive transformation of things into objects and back into different things. Le théâtre de “Forced Entertainment” se caractérise par un sens de la transgression vis-à-vis des cadres dramaturgiques du théâtre de texte. Fragmentation de la narration, déconstruction du personnage, mésusage des outils traditionnels du théâtre: le désordre et le jeu valent comme mots d’ordre d’un théâtre désormais essentiellement visuel et physique où la situation prévaut sur le texte. Sur le plateau s’accumulent toutes sortes de choses: journaux entassés, bouteilles de bière à moitié vide, perruques éparses, chaises amoncelées. Or, force est de constater que cette présence tapageuse témoigne du statut particulier réservé aux choses: accumulation et saturation, telles sont les figures qui dérivent de l’acquisition et de la thésaurisation de choses amassées au cours des répétitions. La prolifération est ici l’indice d’une théâtralité poussée dans ses ultimes retranchements; la chose est parfois l’indice d’un dysfonctionnement de la représentation où le jeu pur l’emporte sur la construction d’un sens univoque. Dans ce contexte de création ludique, les choses se parent alors d’une nouvelle dimension: la chose devient jouet, objet d’une manipulation sensuelle et curieuse, prétexte à de nouveaux évènements, à de nouveaux conflits. Un temps indéfinie, elle s’actualise le temps d’un jeu. Or, une fois le jeu achevé, l’objet abandonné réintègre son statut de chose indéterminée, cependant porteuse de la trace de son passage sur scène. Sa présence arbitraire, sa signification polysémique sont alors le signe, chez “Forced Entertainment”, d’un théâtre qui ose inventer des règles pour immédiatement s’y soustraire. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| description |
Forced Entertainment Theatre Company presents a theatre that defies all attempts at categorization and that can be defined by fragmentary narration, deconstruction of character, as well as voluntary misusage of traditional scenic tools. Entertaining chaos and playful performance function as landmarks for an essentially visual and physical theatre where the situation prevails upon the text. And indeed, things pile up very quickly on stage. Accumulation and saturation are images that are derived from the discovery and acquisition of the things gradually amassed during rehearsals. Here, the proliferation is an indication of theatricality pushed to its utmost limits; things are the indicators of failure or at least of the undermining of traditional drama where pure play prevails over the making of a narrative. But, once it has been manipulated, a thing becomes an object—conceived in relation to the subject/performer perceiving it—it becomes the focus of actions and relations. In this context of playful creation, objects, first submitted to strange manipulation, are also opportunities for new events and conflicts. Objects facilitate play: they create a new domain and develop relationships as well as disorder. However, with Forced Entertainment, a thing never stays an object for long: quickly abandoned, it reverts back to a thing, becoming once again a possibility, signifying not only what it once was at a certain moment, but also what it could have been and still might become. Thus, when becoming a thing again, an object is in fact no longer quite the same thing; from this moment on, it has a past. Forced Entertainment’s playful and daring theatre deals with this issue: the successive transformation of things into objects and back into different things. |
| author |
Déchery, Chloé |
| spellingShingle |
Déchery, Chloé The Use of Play and Things within Forced Entertainment Theatre’s Shows, Bloody Mess and The World in Pictures |
| author_facet |
Déchery, Chloé |
| author_sort |
Déchery, Chloé |
| title |
The Use of Play and Things within Forced Entertainment Theatre’s Shows, Bloody Mess and The World in Pictures |
| title_short |
The Use of Play and Things within Forced Entertainment Theatre’s Shows, Bloody Mess and The World in Pictures |
| title_full |
The Use of Play and Things within Forced Entertainment Theatre’s Shows, Bloody Mess and The World in Pictures |
| title_fullStr |
The Use of Play and Things within Forced Entertainment Theatre’s Shows, Bloody Mess and The World in Pictures |
| title_full_unstemmed |
The Use of Play and Things within Forced Entertainment Theatre’s Shows, Bloody Mess and The World in Pictures |
| title_sort |
use of play and things within forced entertainment theatre’s shows, bloody mess and the world in pictures |
| publisher |
Études britanniques contemporaines |
| publishDate |
2019 |
| container_title |
URI:https://journals.openedition.org/ebc |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/ebc.6038 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/ebc/6038 |
| _version_ |
1877241658603470848 |