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ANTHROPOCOSMIC THEATRE Theatre, Ritual, Consciousness ANTHROPOCOSMIC THEATRE THEATRE, RITUAL, CONSCIOUSNESS NICOLÁS NÚÑEZ TRANSLATED BY RONAN J. FITZSIMONS AND HELENA GUARDIA REVISED AND EXPANDED EDITION EDITED BY DEBORAH MIDDLETON AND FRANC CHAMBERLAIN 10.5920/anthropocosmic.fulltext Published by University of Huddersfield Press University of Huddersfield Press The University of Huddersfield Queensgate Huddersfield HD1 3DH Email enquiries [email protected] Text © 2019 2nd Edition first published 2019 1st Edition published by Harwood Academic Publishers GmbH 1996 as Anthropocosmic Theatre: Rite in the Dynamics of Theatre ‘At Play in the Cosmos’ originally published in The Drama Review in 2001. ‘Secular Sacredness’ originally published in Performance Research in 2008. ‘High Risk Theatre’ originally published in Spanish in Núñez, N. Teatro de alto riesgo by Consejo Editorial de TIT de UNAM in 2007. This work is licensed under a Creative Commons Attribution 4.0 International License Images © as attributed Every effort has been made to locate copyright holders of materials included and to obtain permission for their publication. The publisher is not responsible for the continued existence and accuracy of websites referenced in the text. A CIP catalogue record for this book is available from the British Library. ISBN: 978-1-86218-160-1 Designed by Dawn Cockcroft Cover illustration © Emigdio Guevara 10.5920/anthropocosmic.fulltext For María, Miranda, Jimena, Grizelda and Helena. And for Roberta, Nicolás and Alexia. To all the members of the gang, wherever they may be. 10.5920/anthropocosmic.fulltext 10.5920/anthropocosmic.fulltext CONTENTS ACKNOWLEDGEMENTS I PART ONE: ANTHROPOCOSMIC THEATRE (1975 - 1990) 1 Nicolás Núñez FOREWORD TO THE FIRST EDITION 3 Deborah Middleton INTRODUCTION 7 1 TIBETAN THEATRE 11 2 NAHUATLAN THEATRE 33 3 WESTERN THEATRE 53 4 ANTHROPOCOSMIC THEATRE 89 PART TWO: BEYOND ANTHROPOCOSMIC THEATRE (1990 - 2018) 147 Edited By Deborah Middleton & Franc Chamberlain INTRODUCTION TO PART TWO Deborah Middleton 149 AT PLAY IN THE COSMOS: THE THEATRE AND RITUAL OF NICOLÁS NÚÑEZ Deborah Middleton 153 SNAPSHOT 1: THE COMMUNAL SELF John Britton 183 SNAPSHOT 2: SWIMMING IN THE INNER SOURCE: A WORKSHOP WITH NICOLÁS NÚÑEZ Cassiano Sydow Quilici 187 10.5920/anthropocosmic.fulltext ‘SECULAR SACREDNESS’ IN THE RITUAL THEATRE OF NICOLÁS NÚÑEZ Deborah Middleton 189 SNAPSHOT 3: WHAT THE TALLER DE INVESTIGACIÓN TEATRAL REVEALED TO ME Etzel Cardeña 215 SNAPSHOT 4: AND I SANG Edward McGurn 219 DEFINING THE DYNAMICS Deborah Middleton 223 SNAPSHOT 5: CONTEMPLATIVE RUNNING Daniel Plá 241 SNAPSHOT 6: CITLALMINA AND NANAHUATZIN MEXICO (2010 - 2016) Karoliina Sandström 243 SNAPSHOT 7: BEING THE SUN - NANAHUATZIN Tray Wilson 247 PLOTTING A PATH FOR LATER STEPS: TUNING IN WITH NÚÑEZ, RANCIÈRE, AND SOLOGUB Franc Chamberlain 251 CASE STUDY: THE FLIGHT OF QUETZALCOATL – TEOTIHUACAN, MEXICO (2000) Deborah Middleton 263 HIGH RISK THEATRE Nicolás Núñez 267 10.5920/anthropocosmic.fulltext CASE STUDY: CONSPIRACIÓN HAMLET - CASA DEL LAGO, CHAPULTEPEC, MEXICO CITY (2012) Karoliina Sandström 289 MANDALA: THE SACRED ART OF ACTING - A PLAY IN ONE ACT Nicolás Núñez 293 THEATRE AS A SECRET SOURCE Nicolás Núñez 311 CASE STUDY: PUENTES INVISIBLES – CHAPULTEPEC FOREST, MEXICO (2016) Cash Clay 321 SNAPSHOT: EL ENSUEÑO DE LOS ÁRBOLES - A REFLECTION Ana Luisa Solís 325 COSMIC MANNERS Nicolás Núñez 327 APPENDIX I 335 A SUMMARY OF MY LEARNING Alí Ehécatl 335 APPENDIX II 353 SPEECHES 353 CONTRIBUTORS 377 INDEX 381 10.5920/anthropocosmic.fulltext 10.5920/anthropocosmic.fulltext ACKNOWLEDGEMENTS We are grateful for the generosity we have received from the Dalai Lama and from all the sentient beings who, consciously or unconsciously, have helped us in the development of our work. We thank the National Autonomous University of Mexico, alma mater of our country, which has lovingly sustained our research for almost fifty years, and the University of Huddersfield, our ‘alma mater’ in the UK. We are grateful to all the members of the gang, past, present and future, especially to Dr. Deborah Middleton and Helena Guardia for their unconditional support of the Taller de Investigación Teatral UNAM. Nicolás Núñez (April 2018) 10.5920/anthropocosmic.fulltext I 10.5920/anthropocosmic.fulltext PART ONE ANTHROPOCOSMIC THEATRE Nicolás Núñez Translated by Ronan J. Fitzsimons 10.5920/anthropocosmic.fulltext 2 10.5920/anthropocosmic.fulltext FOREWORD TO THE FIRST EDITION Anthropocosmic theatre is the term given by Nicolás Núñez to the participatory theatre form developed by himself and his ‘gang’, as he refers to the Taller de Investigación Teatral (Theatre Research Workshop). Based in Mexico City, under the auspices of the National Autonomous University, Nuñez has been working on his project for the past twenty years. This book, first published in Spanish in 1987, is both a dossier of Núñez’s researches in pre-Hispanic Mexican, Tibetan, and Western theatre, and also an exposition of the consequent theatrical form, anthropocosmic theatre. My intention in writing this foreword is to offer the reader some guides to and perspectives on Núñez’s work, in order that the early chapters may be contextualised, and that the direction of Núñez’s development may be clear from the outset. These comments are based upon my experiences of Núñez’s work both in the workshop which he ran at a Centre for Performance Research conference in Cardiff in January 1993, and during my time spent working and talking with Nicolás and colleagues in Mexico City in November 1993. The points which I touch on here will, on the whole, be expanded upon within Núñez’s text in the final section of Part One. An essential feature of anthropocosmic theatre is its participatory quality. All of Núñez’s work involves audience participation although this occurs to differing degrees. A ‘dynamic’ or ‘action’ such as Citlalmina activates all participants equally; the actors serve as guides in what is, essentially, a ritual dance. Los Cenci, premiered in 1993, uses a more conventional actor-audience relationship where the spectators’ participation is more subtle and encourages self-speculation rather than physical involvement. Between these two extremes lie various experiments with formal relationships; the objective is always the same - whether by physical or emotional means to involve the spectator in the raising and focusing of energy, and in a journey of self-knowledge. 10.5920/anthropocosmic.fulltext 3 ANTHROPOCOSMIC THEATRE The journey to self-knowledge is a theme inherent in many kinds of theatrical activity, and, in a heightened form, in paratheatrical activity in particular. ‘Paratheatre’ involves the use of dramatic structures and psychophysical exercises to reawaken the participant’s sensitivity to the self, to others, and to nature. For Núñez, working within a culture still fascinated by the Aztec cosmology of its ancestors, paratheatre becomes ‘anthropocosmic theatre’ - a theatre concerned with ‘man’ in the cosmos; the human sense of our place in the Universe. The dance-ritual, Citlalmina, developed by the Taller, contains within it ‘mandalas in movement’; representations of the patterns of the universe transformed into physical actions. The language of the body- code, whilst being iconic to a degree, is designed to raise and focus mental and physical energies (which are ‘offered’, not withheld). Other dynamics involve the principle of meditation through movement, the intensifying of visceral sensitivity and physical awareness. A central principle within each action is the requirement to focus oneself upon the here-and-now. This demands a great mental effort - a continual drawing together of mind and body - and results in an intensified sense of experience and a peace of mind which would seem to arise from one’s centrality within the present moment (thoughts of past and future are dispelled). This raising and consolidating of energy is both a key to the fullest experience of the work, and also an important end in itself - the fight against mental and energetic dispersal; the attempt to inhabit one’s own experience. Clearly this activity has similarities with ancient systems such as Yoga or Tai Chi, and, indeed, many of the actions were generated from research into, and experience of, pre-Hispanic dance forms. Citlalmina is itself, as you will read, a blend of Nahuatlan and early Tibetan dance. The dramatic substance of Núñez’s participatory theatre revolves around myth and archetype, and this factor is significant to the anthropocosmic character of the work. Núñez seeks to establish a contact with the mythic past through the archetypes and emblems of the collective unconscious. In this, he feels, there lies a key to existential security, to a sense of one’s place in 4 10.5920/anthropocosmic.fulltext FOREWORD history and a connectedness to the world and to the past. The performance events and ‘actions’ which Núñez describes in this book draw most frequently upon the imagery of Nahuatlan religio-philosophy. Whilst physically the actions bring participants to a state of holistic balance and well-being, the mythological content offers what many mythologists would see as ballast for the soul. For Núñez, these ciphers from the past may provide answers to ontological insecurity and a sense of continuity with history. This aspect of anthropocosmic theatre gives it a special place in contemporary Mexico since it encourages a redressing of the imbalance between the Nahuatlan and Hispanic cultures and thereby makes possible a fuller personal cultural identity for the participants.
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