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Književnost i kultura / Lada Čale Feldman - Radical and not so Radical Transgressions: Invading Backstage Domains

Authors
Publisher
University of Zadar; [email protected]
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Disciplines
  • Social Sciences

Abstract

Broj 4 / Književnost i kultura / Lada Čale Feldman - Radical and not so Radical Transgressions: Invading Backstage Domains Lada Čale Feldman - Radical and not so Radical Transgressions: Invading Backstage Domains Featuring as one of the priv ileged metaphors in humanities and social sciences, theatre prov ides primarily an image of a circumscribed space whose spatial sy ntax and modes of human engagement take place within and with respect to the larger space of the city , the world, and, as in Calderon's Gran teatro del mundo, the universe. It is precisely as a special organization of spatiality that theatre reached the status of Foucault's radical hetero- topos[1], flexible as it proved to be as a model for not only counter-representing all the human dealings in the external space, but also of conceptualizing, as in Freud's psy choanaly sis, man's inner world, his psy chic topography . But theatre is above all a concrete place, a built form with its own spatial history , its changing social and ideological functions, and its way s of bestowing to the bodies that enter into it actual or phantasm identities, thoughts, sensations, feelings and memories. My intervention will deal with one of the ruling borders/dichotomies/barriers of theatrical space, the one div iding "front stage" from "backstage" regions. In his detailed analy sis of the latter in an indiv idual and concrete theatre building[2], Andrew Filmer relies among others on Edward Soja's "trialectics of being", and thus also on Lefebvre's categories of perceptual, conceptual and lived aspects of spatiality which Soja evokes[3], which will here be of particular interest. In contrast to the repercussions of such an analy tical triad for the ethnographic study of concrete theatrical sites, I will ask how it pertains to potential manipulations of the aforementioned div ision of front-stage and backstage within contemporary performance practice. The temporal aspect of this manipulation should also

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