All Discussions Tagged 'Theory' - Performance Philosophy2024-03-29T09:34:23Zhttp://performancephilosophy.ning.com/forum/topic/listForTag?tag=Theory&feed=yes&xn_auth=noStaging Moral Philosophytag:performancephilosophy.ning.com,2014-02-23:6528949:Topic:208462014-02-23T01:11:14.616ZMatthew Hoodhttp://performancephilosophy.ning.com/profile/MatthewHood
<p>'Theatre was born out of a universal, irresistible attraction to the new and extraordinary, a desire to feel oneself put into a state of passion'.</p>
<p>(Friedrich Schiller).</p>
<p>Can our attraction to the "new" and the "extraordinary", at times somehow push the limitations of what is considered socially and politically acceptable moral behaviour? By identifying the theatre as a moral institution, are we also simultaneously giving rise to an immorality within the theatre…</p>
<p>'Theatre was born out of a universal, irresistible attraction to the new and extraordinary, a desire to feel oneself put into a state of passion'.</p>
<p>(Friedrich Schiller).</p>
<p>Can our attraction to the "new" and the "extraordinary", at times somehow push the limitations of what is considered socially and politically acceptable moral behaviour? By identifying the theatre as a moral institution, are we also simultaneously giving rise to an immorality within the theatre event?</p>
<p>Debatably, much of contemporary British and European theatre is framed in such a way to cause provocation or tension with its spectators. </p>
<p>What deeply concerns me here is this relationality between the spectator and the event (theatre institution/ company, on a wider scale); if theatre can cause provocation to the extent of an animated reaction from its spectators, I'm interested in how this may alter the role of the theatre within wider society. What does this form of dislocation and disruption bring about that consensus and communicative work cannot?</p>
<p>After looking closely at this website and its, needless to say, inter-disciplinarian approach of performance and philosophy; I was slightly shocked that I could find little or no direct ties to Morality or Moral theory. This might be due to the extremely large nature of the discourse, and its seemingly never-ending ties to the wider world. By opening up this discussion, I am hoping to trouble/test the waters of the relationship between the (moral) theatre institution and human morality.</p>
<p>To begin to chip away at this large discourse I propose some initial questions:</p>
<ul>
<li>To what extent does contemporary theatre continue to operate as a moral institution? It might be useful to draw on specific case studies, for example I have a keen interest in Socìetas Raffaello Sanzio.</li>
<li>To any extent does the theatre practice produce a mode of confrontation with morality?</li>
<li>What is the responsibility of the theatre-maker(s) in constructing the response-ability of the spectator?</li>
<li>To what extent should the theatre-maker(s) be held accountable for the affects of their performance on audiences?</li>
</ul>
<p>I would really like to hear your thoughts on the concerns that I have raised here especially concerning the matter of whether you think human morality has some grounded weight to be expressed in the Performance Philosophy domain.</p>
<p>Thanks,</p>
<p>Matt Hood</p>