“Lifelessness. . . is only a disguise”: living things and memories in Theatre de Complicite’sThe Street of Crocodiles
In recent years the Theatre de Complicite has become internationally famous for its exploration of the expressive powers of bodies and things on stage. This study focuses on the constant metamorphosis of things in a devised piece adapted from Bruno Schulz’s stories, The Street of Crocodiles (1992)....
Shranjeno v:
| izdano v: | URI:https://journals.openedition.org/ebc, |
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| Glavni avtor: | |
| Format: | Article ou chapitre numérique |
| Jezik: | Anglais |
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Études britanniques contemporaines
2019
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| Online dostop: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Izvleček: | In recent years the Theatre de Complicite has become internationally famous for its exploration of the expressive powers of bodies and things on stage. This study focuses on the constant metamorphosis of things in a devised piece adapted from Bruno Schulz’s stories, The Street of Crocodiles (1992). This example is used to illustrate the semiotic flexibility of Complicite’s scenic language, in which objects are highlighted both as material presence and as metaphors subject to constant transformation. In a dynamic exploration of the process of memory, objects are used as the focus for a living materialization of the past, which is strongly contrasted with images of reified humanity in the play’s evocation of the Second World War and the Holocaust, and with the subsequent reification of history into fixed narrative forms. This original scenic language is seen as part of a postdramatic resistance to overarching narratives, and is examined in the context of the company’s more recent work and their ongoing search for collective connections to the past. |
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