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VALERE NOVARINA AND JANOS PILINSZKY OR THE POETIC THEATER OF UNSELFING RITUAL In Novarina’s oeuvre, and in the volume Devant la Parole [Ahead Speech], in which we find “Fragile Shelter,” as well, the figure of the French actor is a constant point of reference, but the statements and dialogues attributed to him are in every instance imaginary. From the quotation we can also see that the theater is the supper, as well as the location of the Last Supper, its fragile shelter. And thus, in every piece (by Novarina) and every performance there is a supper scene. The other ritual, which defines the fundamental dramaturgy, is the threefold unity of statement-denial-new statement, which we have already analyzed from a different viewpoint in preceding chapters. In this chapter, however, the reason we must repeat its mention is that Novarina completes the bodily and physical metaphor of the theater as (the Lord’s) supper by denying it in the same essay: The kenotic theater repeats the stage’s nonexistence on the stage; this is the theater’s first formula, the simplest of its proclaimed chemistry, its negative cornerstone; the actor enters and speaks thus: “Behold, this here does not exist.” Anatopical, uchronic, analogical, antistrophic, anamorphic, diaphonic, perspectral, anaphore-like and diaphanous, antiandric, transthanatal, antianthropic and primarily antianthropopodularic, aphonic and superacoustic and anacosmic and supersexualized, the theater progresses by means of counterpoints, countershadowing the counterparts and duplicating them with words bursting forth in logoedres;” they spread out the inside-out and irreversible world before us: behold, now space sacrifices itself. Behold, space hands over the persona-containing person. Such is the theatrical antimatter; the nowhere visibly appears in it: and in the midst of all this, there is man — and the universe. The theater is an explicitly physical place where the body, arriving, speaks thus: nothing is more impossible for me than the body. The actor arrives to recreate the complete geometry of the human body." Novarinas logaédre-concept and the metaphor, express the self-contradiction of the words incarnation: Logaédres! Logaédres! The action of words commutes in round trips. The sentence proceeds forward like time, and, like its opposite, it inverts its capabilities, becomes a retroactive music that sounds and acts in the memory. Every word influences other words retroactively: it affects every word since the beginning of the book, but also every word already Both logaédres and logoédres are Novarina’s neologisms, hapax legomena that apply the notion of form to words (logos). 56 Ibid., 157-158. - 101 +
