Regarding the debate between text and performance, I appreciated Patrice Pavis’ suggestion to not treat it as an “atemporal problem” (122). He offers that we “historicize and localize” the issue for clarity and offers as examples how during the 1960s 1) when authoritarianism was questioned, it led “to privilege spectacular performances, to marginalize dramatic literature,” and 2) during the same period in Germany, great classics were put through “the mincing machine” in a reaction against “blind obedience.” It made me reflect on the cultural and political forces at play and how what I believe to be my own creative and personal choices are in fact very much shaped by those larger, external forces, and also are a part (however miniscule) of what gives weight to those forces. As I’m reminded of this through Pavis, I reflected on Jeremy Tiang’s talk about the conservatism of the theater industry. Although the problem is particularly acute in the theater industry due to greater financial stakes, I find it to be pervasive in the sense that we are still oriented heavily toward Western Classics in the U.S. (esp. the education system). But I guess, going back to Pavis, all of this is reflective to some degree to the cultural mood and therefore, I daresay, our convictions. And perhaps that’s why it’s so hard to change…
- Lois
(sorry, this is late...)
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