Oldal 97 [97]
OCR
VALERE NOVARINA AND JANOS PILINSZKY OR THE POETIC THEATER OF UNSELFING RITUAL each other as more complete beings. In Turner’s classic work From Ritual to Theatre he changes the adjective “liminal” to “liminoid” when referring to art (and religion): “I had distinguished ‘liminal’ from ‘liminoid’ by associating the first with obligatory, tribal participation in ritual and the second as characterizing religious forms voluntarily produced, usually with recognition of individual authorship, and often subversive in intention toward the prevailing structures.”*® Turner fundamentally considers the individual’s social dimension, understood as communitas, to be a liminoid, voluntarist lifestyle.” Richard Schechner, the theorist, director, and dramatist also mentioned by Turner, uses the stages of infant development borrowed from Winnicott (I, not-I, not not-I) with respect to the actor’s work (Turner evokes this bordercrossing in his book). For the actor, the role, the character to be played, is the not-I, and after he has integrated something of the character in himself, the not-I transforms into an inner not-not-I. Turner assigns the director only a catalytic role in this process that he describes variously as “alchemical” and “mystical,” and he terms this third ego-condition as richer and deeper. Furthermore, in Richard Schechner’s practice — when he leaves the script open to modification — the text also undergoes the same transitions. Quoting one of Grotowski’s interviews, Turner determines that the image of the actor in theaters of laboratory character is that of the active person who becomes not a different person but himself, in order to be able to enter a connection with another.°° Grotowski, for his part, calls an active culture one in which an artisticteam or individuals do not perform, do not create theater but experience existence (“acting is being, not performance”); and there are and have been many of these worldwide. The rehearsal process is an important ground for these experiences; Turner’s 1982 book cites the examples of Grotowski and Schechner in particular among experimental theaters, in which vocal training, psychodramas, dance, and certain elements of yoga play a major part, directed toward the creation of communitas.” In his Performance, Schechner emphasizes those productions which lead not only from one state to another but also from one I-identity to the other (“transformance’”).* It is real experience, and its results fundamentally characterize rite, whereas theater is basically characterized by recreation, and when the two become tightly interwoven then theater begins to blossom and can Victor Turner: From Ritual to Theatre. The Human Seriousness of Play, New York, Performing Arts Journal Publications, 1982, 118. # Ibid. 30 Ibid., 117. 31 Ibid. “All these disciplines and ordeals are aimed at generating communities or something like it in the group.” Ibid., 119. 33 Richard Schechner: Performance Theory, Taylor & Francis e-Library, 2004, 136-137. (see the chapter “Theater for Tourists”).
