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ENIKŐ SEPSI CONCLUSION In his work Performance Theory, Schechner highlights that the attention paid to the manner of theater-making is already an experiment in the ritualization of performance. In a period when authenticity is difficult to define, “when public life has been theatricalized,” Schechner elaborates, “the performer was asked to doff his or her traditional masks—to be not an agent of ‘playing’ or ‘fooling’ or ‘lying’ (public masquerades) but one who ‘tells the truth’. If not this, then at least she or he should show how the masks are put on and taken off—perhaps in that way educating the public about the theatricalized deceptions practised on them by political leaders and media dons. Instead of mirroring the age, performers were asked to remedy it. The professions taken as models (and frequently enough cited by Grotowski and others) included the priesthood and medicine.”** Questioning, constructing and deconstructing anthropoglyphs, Novarina’s theatre also aims at the resultative aspect of rites. In fact, it also has a liturgical purpose in the above sense of remedy. There is a certain anamorphism in understanding kenotic ritual.*? In other words, the spectator must have the correct angle, i.e. he/she must be involved in order to see a comprehensible form or figure. Compared to the scripted (written) rituality, there is a “liminoid” state of receptivity of the live theatre performance, i.e. the performed. There is a recurrent cognitive metaphor in Novarina’s work: Christ is the Word/Logos, and the stage is the place where words are eaten. It is the place of the Last Supper. But the Last Supper is not simply a metaphor or historical allusion, but a figure of speech which has two parts: the type and the antitype linked with the “radical openness towards the future." According to Northrop Frye, compared to the metaphor, typology is not a simultaneous figure of speech. Rather, it is a figure which moves in time: even antitypes have a progress that is an intensification where newer and newer perspectives are opened up until they reveal the apocalypse. This movement describes Novarina’s circular or rather spiral-like dramaturgy well (he also uses names like ANTI-Personne, spiral-woman, etc.). For Novarina, the theatre is the place for the renewed form of the Last Supper, the communion of the actors. In typology and in Novarina’s dramaturgy, there is both a horizontal movement forward and also a vertical leap. °8 Richard Schechner, Theater for Tourists in idem, Performance Theory. Taylor & Francis e-Library, 2004, 136-137. See the same statement about rituals in general and especially poetic rituals: Eniké Sepsi, On Bearing Witness to a Poetic Ritual: Robert Wilson’s Deafman Glance as seen by Janos Pilinszky, in Jay Malarcher (ed.), Text & Presentation, 2017, McFarland, 2018, 177. Tibor Fabiny, Figura and Fulfilment. Typology in the Bible, Art, and Literature, Eugene [Oregon], Wipf and Stock, 2016, 153. 29 30 + 316 + Daréczi-Sepsi-Vassänyi_Initiation_155x240.indb 316 ® 2020. 06. 15. 11:04:26
