Expressivisme sense barreres: teatres i fronteres en el retaulede la desintegració, les pantalles, la mediació i l’avarícia

• Autores: Manuel Molins
• Localización: De fronteres i arts escèniques / coord. por Núria Santamaria, Francesc Foguet i Boreu, 2015, ISBN 978-84-943779-0-7, págs. 63-91
• Idioma: catalán
• Enlaces
  • Texto Completo Libro
• Resumen

  • We live difficult times. Perhaps these are not as obscure as the times Bertold Brecht wrote about, but we evidently live in an age of multiple, sudden and opaque transformations we try to understand from different perspectives. Although the metaphordiagnosis of the «liquid» world (Baumann) may be regarded as the most successful formula to describe this transformation, its overuse has come to discourage reference to it.

    In order to avoid a single perspective, we have sought for four other approaches to deal with the complexity of reality: the idea of disintegration, screens, mediation and greed.

    Our reality affects every part of our life, including the way we think, eat, dress and dream, as if it were a remake of Valle Inclán’s Retablo de la lujuria, la avaricia y la muerte.

    If I were to answer the question that has gathered us in this conference, I would agree that the concept of border is inescapable, but I would also stress the need for its clarification. Even if used as synonyms, the term border is not the same as barrier, containment wall or separation wall. The concept of border is as inevitable as the pronominal framework that identifies the figures of speech and though, at first sight, it belongs to the ambit of deictic identification, it also embraces the «I/we» construction, the personal and collective identity which cannot be erased or diluted.

    This identity could be, among others, a mythical-folk identity, a killer identity (Maalouf) or a secular identity (Magris). In fact Magris’ secularism has nothing to do with the usual secularism, so perhaps the former is the most suitable to overcome wall-identities and open up to borderless identities, in which all our potentialities as human beings can be displayed.

    Overcoming physical, historical, intellectual and religious barriers will allow us to explore an ecumenical theatre from the perspective of secular non-syncretic inclusion.

    This new ecumenism would be able to deal with the globalisation of the neoliberal and ultraliberal market and enhance the ethical and aesthetical dimensions in a secular and borderless world. This would be a new theatre of joy and thought or, better said, of the joy of thought in achieving a new «expressivity» (Berlín) without barriers.

    Thanks to the inclusive methodology that comprises some phenomenal legacy and takes into account the real ecumenical pluralism, we propose nine principles (not a Decalogue in the tradition of biblical authoritarianism) of new practices and forms of theatre organisation tending to overcome the altarpiece of disintegration, screens, mediation and greed.