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University of Cape Town September 2019 The Poetics of Planetary Theatre: Image and Bricolage Sanjin Muftić Thesis submitted for the degree of Doctor of Philosophy in Drama, Faculty of Humanities, UNIVERSITY OF CAPE TOWN SEPTEMBER 2019 University of Cape Town 1 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town l propose the planet to overwrite the globe. -Gayatri Chakravorty Spivak (2003: 72) The image is a pure creation of the mind. It cannot arise from a comparison but from the juxtaposition of two more or less distant realities. The more distant and right the relationship between the two juxtaposed realities, the stronger the image will be - the more emotional power and poetic reality it will have. - …L’image: Pierre Reverdy (cited in Breton, 1970: 16) …there are images and sounds, which don’t have a country nor a place of belonging nor a language. - (Castelluci cited in Read, 2010: 254) The more we see, the more we must be able to add by thinking. The more we add by thinking, the more we must be able to see. - (Gotthold E. Lessing cited in Lowenthal, 1984: Ch 2) Images resemble nomads. They migrate across the boundaries that separate one culture from another, taking up residence in the media of one historical place and time and then moving onto the next like desert wanderers setting up temporary camps. - Hans Belting (2011: 21) 2 ABSTRACT Images are all around us. They serve as a tool of communication, whether transmitted in words, sound or in visual media. An image may simultaneously be a thing placed in front of us and a thing that we create in our minds – a fragment that fleetingly captures our attention and is difficult to articulate. To describe images is to undo them: they are too unstable, fluid, and personal to each of us, yet we constantly exchange them. In this sense, images become migrants as they travel through time, cultures and media; repeating, re-occurring, re-mixing and carrying the baggage of their contexts in their journeys. They contribute to shaping identities and culture in a global intermedial space saturated by media exposure. The central question of this study is how images work to make theatre. I place myself within the postdramatic and intercultural theatre context and consider how one of the tasks of the theatre-maker is to construct and shape images into a performance. Through a focus on several theatre productions, I investigate the features of theatrical images and highlight their usefulness within both the devising and performance stages of theatre-making. In doing so, I develop a poetics to establish an image-driven dramaturgy from rehearsal to performance. This poetics places the body in an intermedial space which constructs itself through the exchange and juxtaposition of images from across the planet. My investigation is guided by two interwoven theories. The first is that of Gayatri Chakravorty Spivak’s (2003a) concept of the planetary, which asserts the necessity of recognizing diverse experiences and perceptions on the planet in order to redefine who we see as the “other”. I utilize her approach by juxtaposing fragments in order to defamiliarize theatrical images. Through the use of fragments, the second theory of bricolage is informed by, amongst others, Claude Lévi-Strauss (1966). I thus seek to identify myself as a bricoleur; someone whose art-making poetics is dependent on using pre-existing material through sampling and montage. These poetics seek to capture my own experience as a migrant, who sees the planet as a rhizome of images and their associations. My project makes the claim that a poetics of the planetary (dramaturgy) is found through the exchange of images drawn from those involved in the creation of an intermedial theatrical event. 3 ACKNOWLEDGEMENTS Još1 kad sam bio mali sedmogodišnji dječak, za vrijeme snimanja jedne dječije emisije u našoj školi, novinar Radio-Sarajeva me upitao šta ću postati kada odrastem. Bez razmišljanja sam odgovorio: "Želio bih postati poznati fotograf i putovati svijetom". Nisam postao poznati fotograf ali sam imao mogućnost da putujem po svijetu i da otkrijem slike u još jednoj vrsti kreativne umjetnosti, a to je pozorište. Duga je lista ljudi koji su doprinijeli ovoj studiji. Želim da izdvojim neka od njih. Zahvaljujem se Pameli Slawson, mojoj prvoj učiteljici drame koja me uvela u ovaj kreativni svijet. Zahvalan sam predstavi „Les Porteurs d'Eau“ (Nosači Vode) Theatre Talipot koja je bila izvedena u Alliance Française, Addis Abebi 1998. godine jer me opčinila i pokazala mi magičnu moć pozorišta. Za početak ovog projekta puno dugujem muzičkoj grupi The Avalanches i njihovom albumu iz 2000. godine „Since I Left You“. Njihov muzički video „Frontier Psychiatrist“ mi je dao najveću inspiraciju za prvo pitanje u mom istraživanju. Članovi Intermedijske grupe u djelu Pozorišnog kongresa (IFTR), kao i članovi Internacionalnog društva za intermedijske studije dali su mi podstrek da nastavim ovaj projekat. Nemam dovoljno riječi da se zahvalim svim glumcima, izvođačima i saradnicima u eksperimentima i predstavama koji su doprinijeli ovom istraživanju. Hvala Vam što ste Vašim talentom i vremenom doprinijeli ovom ludom eksperimentu. Hvala i UCT Odsjek Drama za njihovu tehničku podršku u izvođenju svih produkcija, zatim Michelle Young, Chanel Engelbrecht i kolegama u CityVarsity Odsjek za glumu koji su mi omogućili da radim ovaj projekat u toku mog posla na Koledžu. Pisanje ove teze nije se moglo uraditi bez Programa Pacemaker Press koji mi je pomogao da brojim riječi dok je muzika Portico Quarteta i Khruangbina bila moja zvučna „atmosfera“ za vrijeme cijelog rada. Veliku zahvalnost dugujem Esthie Hugo, editorki koja me uvjerila da slobodnim i jasnim izražavanjem svojih misli mogu bolje predstaviti svoje ideje. 1 The English translation of the acknowledgements appears in Appendix C. 4 Puno hvala Veroniki Baxter koja je bila strpljiva dok sam tražio argumente. Hvala takođe Marku Fleishmanu koji je stalno postavljao teška pitanja. Hvala Judith Rudakoff za redigovanje teksta koje je postalo osmo poglavlje teze.. Hvala mojim roditeljima, Emiri i Tariku, koji su me tokom mog školovanja non-stop podsticali na učenje, govorili mi da uvijek ima prostora za bolje i više (riječi moga tate) i koji su podržali ideju da uz dramu studiram i informatiku (za svaki slučaj). Svojim savjetima, i prije svega finansijama, su omogućili da danas radim posao koji me ispunjava. Zahvalan sam mojoj sestri Maji koja je, mada daleko preko okeana, podržavala moj rad na doktorskoj tezi. Osobi koja je bila dio svake minute ovog projekta trebam izraziti najveću zahvalnost. Moja partnerka Amy (koja je postala moja supruga tokom ovog rada) je dala podršku svim aspektima ovog rada tokom svih ovih godina. Hvala što si bila strpljiva do kraja! Hvala isto roditeljima od Amy, Sharon i Mogamat, za njihovu podršku. Malo poslije ove radio emisije, moja familija i ja smo otišli iz Jugoslavije i nakon toga ja nisam imao puno prilika da pišem na bosanskom (srpsko-hrvatskom) jeziku. Sada, na kraju ovog dugog akademskog puta, mislio sam da je prikladno da se vratim, bar privremeno, mom maternjem jeziku. Ovaj rad je posvećen mojim babi Šemsi i dedi Hakiji, koji su imali veliku ulogu u mom odrastanju i podstakli me da budem znatiželjan. 5 TABLE OF CONTENTS ABSTRACT .................................................................................................................................... 3 ACKNOWLEDGEMENTS ................................................................................................................ 4 TABLE OF CONTENTS .................................................................................................................... 6 LIST OF FIGURES ........................................................................................................................... 8 INTRODUCTION ........................................................................................................................... 9 THEATRE AND IMAGES ..............................................................................................................................9 IMAGES AND THE PLANETARY .................................................................................................................. 15 THE MIGRANT AND THE PRACTICE ........................................................................................................... 19 THE RESEARCH PROJECT ......................................................................................................................... 27 RESEARCH QUESTIONS ........................................................................................................................... 29 PRACTICE-AS-RESEARCH AND THE CREATIVE OUTPUT ................................................................................. 30 RESEARCH METHODOLOGY ..................................................................................................................... 32 RESEARCH ETHICS – PEDAGOGY AS BRICOLAGE .......................................................................................... 34 THESIS STRUCTURE ................................................................................................................................ 35 CHAPTER 1 -
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