Wherever we stand politically, it is the question most of us ask. Polarization that resides in line with the revival of nationalist populism in the western world has in some way solved our world from a common reality, if one can ever be said to have existed. Quite we could call the victory of postmodernism, a floating reality without firm anchoring. More alert to an ongoing coup attempt, where a small specific group uses populism to overthrow a pluralist society.

When even reality is contested, it is difficult to agree on how social development actually looks.

For each development, there seems to be an opposite development. Example. Europe becomes more multicultural and at the same time more nationalist. The national economy is getting stronger, but poverty is increasing. The fragments are decreasing but violence is increasing. Atheism increases but ultra-religiosity takes place. Tolerance and love seem to be stronger, but intolerance and hatred more common. As fuel for the fire, trust in authorizations such as media, research and state is so obscured that factual statements about what is pure lies are getting a little firm. The opportunity for public-semi-public discussion with those who do not detail your worldview seems completely unreasonable.
In that uncertain, we are looking for stories we can understand, a longing for the true and ruthless to agree. That documentary material has a greater cultural and artistic impact is not strange. Neither the importance we attach to statistics, whose significance and credibility are discussed with an almost exegetical frenzy.
It is practically possible to formulate a law about it: For each text there is a corresponding and diametrically opposite text.

In such a fragmented social climate, what meaning does the theater have? What does it tell a society that cannot know where it is?

With so much at stake we would like to mobilize the theater in community service. Understandably, we want it to be an expression of our vision of society, that it will contribute to the backbone. Should it be?

Theatre

The theater is always in and of the society in which it is created or performed. In all that tells you, whether in new productions or new performances, whether it’s politically challenging free groups, institutional theaters or village games, there is the story of your own society. The theater can never stand outside of its society because it is played in it, whether the act on stage takes place in Athens or in the country in the distance. A theater cannot be created or played in a vacuum.

Our Point Of View

The theater is always in and of the society in which it is created or performed. In all that tells you, whether in new productions or new performances, whether it’s politically challenging free groups, institutional theaters or village games, there is the story of your own society. The theater can never stand outside of its society because it is played in it, whether the act on stage takes place in Athens or in the country in the distance. A theater cannot be created or played in a vacuum.

An attractive thought of forces

The Ideology

It is an attractive thought of forces that want to transform society according to its own ideology to control what society the theater can convey. For example, it is no coincidence that those who have the closest metaphysical belief in the market want ticket revenues to determine repertoires. Nor is it a coincidence that nationalist populists, looking forward to forming society into “one people”, are hostile to how the theater looks today. It does not respond to nationalist ideals and does not advocate a one-way, homogeneous society. It criticizes, digs and problematizes the society it is part of. It tries to represent differences, rather than similarities. The theater is not guilty of expressing a specific message, presenting facts or representing a “truth”. Instead, it reflects the society it is a part of.

We cannot expect the theater to be at the forefront of our ideal society >>

Nor is it healthy to try to make it a weapon when it’s a bridge. It is and remains fragment of reality, summarized by the gravitational power of all those included in its formation, including the audience. The theater cannot tell the truth or present the facts in an uneasy time. But the truest picture of society that the theater can represent occurs if it continues to open up to its society and invite it. A sure defense against populism is to bring in more stories, more voices, experiences and bodies. If the theater does, it builds at best bridges between individuals, communities, stories and worlds of imagination, instead of barricading.

Worried is that the theater, as well as the society that strives for openness and increased diversity is fragile. It's it, but it's even easier to break if it's hardening.

Blog

Sorry, no posts were found.