How can theater today again become a powerful medium of not only mirroring Society, but being a part of changing it? Or even re-invented connecting the past with the present focusing on the Here and Now of the experience?
Piscator said if you don't know what to say get off the stage and wait until you figure out what you want to say and then get back on the stage. You want people to listen to you, you better have something you really want to say.
What do we really want to do a play about?
What do you want to add to the cultural knowledge of this subject?
And how do we do it?
By losing the fear of failure, errorism sets free creative potential which is presently subordinated to moral structures dictated by the traditional educational system If we succeed to see failure as pleasure we get a whole new picture that contradicts almost everything that performance stands for in commercialised societies.
We live in a system that has chosen money over life.
Rare elections, basic social care, no significant measures against climate change and human rights violations, political apathy, underfunded education, exclusion of people with disabilities, violence against woman, xenophobia, and our conscience is satisfied. That is cultural capitalism.
The only way to change things is to gain real power. We should work very hard to understand who we all are historically and socially. And then I think we should jump and see what comes up. How far are we willing to go in meeting the unfamiliar?
Politics exists within our bodies as an often dormant knowledge.
Society is still present but only in the pain of its absence.
Theater is where the procedures of society are tested, where the role of artist is to create an aesthetic laboratory for ideas and actions, where the outside world is inside the theater, and where the role of the spectator is one of a critical analyst assessing the potential of knew and accepted wisdom for the greatest good.
We talk about a self-regulated theater, where the director himself also has to be able to become a spectator not an active but a passive one, who leans back and looks at the piece being created with the negotiation process alone. When unordered theater from outside enters this process then something happens that can hardly be staged as such: politics breaking into the political.
Rejection of a traditional theater that relies on hierarchy and spectator-passivity, moving towards a democratic theatre that would be inclusive and engage its audience, the audience has as much to say as we do.
A theatre without fear that makes opinions significant and actions effective. That would be the warming up for something that may occur.
A theater that not only focuses on pressing political issues, but also becomes a political space - a public sphere.
It matters that as bodies we arrive together in public, that we are assembling in public; we are coming together as bodies in alliance. As bodies we suffer, we require shelter and food, and as bodies we require one another and desire one another. We sit and stand and move and speak. We are here, and remain here, to occupy and constitute a public space.
In the end it is in theater as it is in society.
Art cannot be art if it is just art.
We must create a new culture, not merely another mean that attempts to remove the symptoms of our crisis without affecting its sources.
The Arts have a crucial role to play in building a free and healthy Society.
The plays must point at the traumas of society and extend the stage outside the theater. We have to tell the stories those whose stories have not been told and those who are not accounted or heard.
It is the time to take responsibility for the violence that is increasingly shaping our life. A violence that has cut art from society and society from politics. It is the time for action.
Beauty is in the streets.
It is not words or sentences that keep us going, but pictures that we want to become a part of.