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Abstract: The performative intervention is articulated both through spoken word as well as in physical (re)presentation of the body in situ. Along the ELO 2022 programme we select and remix fragments in a way that corresponds to the principles of Bertolt Brecht's " Lehrstücke,“ the so called learning or teaching pieces that deconstruct and expose the mechanisms of (power) relationships inherent to the (media/art educational ) system in question. The participants and audiences are invited to comment upon the intervention, opening a space of (self)reflexive interaction among all the involved people, and perhaps machines as well. The focus is on eLit /ELO production and dissemination conditions as related to (if not limited by) the presented aesthetics and mechanics, the narratives and poetics exposed. Provoking both rational and emotional perspectives of the ELO 2022 community, possibilities of (un)learning through acting, playing roles, adopting postures etc. are explored, dissolving (or at least questioning) the divide between authors and audiences, both invited (in Brechtian terms) to acquire attitudes rather than to consume an entertainment. The challenge at ELO 2022 would also consist of surpassing Brecht's principles as e.g. derived by the Brasilian director Zé Celso and his Theatre of Discovery, or Augusto Boal's Forum Theatre that abolished the division between actors and audiences who were invited to actively intervene in the discourse presented, a collective experiment and search for solutions to social (and in this case aesthetical and poetical) issues at hand. With no actor audience separation, the emphasis on performance shifts upon the process, rather than the final product be it the artwork itself, or theoretical discourse about and around it.
Keywords: unlearning, perfromance, participative, Brecht, e-literature
Published in RUNG: 03.06.2022; Views: 2186; Downloads: 0
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Abstract: The thesis begins a discourse into a need of an Indian film theory by exploring and analysing the plenitude of relevant western theories. In order to do so it lays down certain concrete relationships between ideologies, terminologies and their effect; as in what exactly post colonial means, why it is important to understand the impact of colonisation on culture and thus on one of the most mass consumed medium in India; films. The thesis explores the depths and complexity of the relationship of these two and the other influences that sprout from it for example the intensity of colonisation as a cultural project and its influence on the social reality of the people, artists, thinkers (and in our case specifically filmmakers) , who in turn reflect on this culture through various mediums including films. The thesis examines the western plethora of film theory in order to accentuate the contrast between film and cinema in the west and east and thus the subsequent need to bring forth a new ‘Eastern Film theory’.
Keywords: Post Colonialism, Cultural genocide, Cinematic Apparatus, Baudry, Political cinema, Brecht, Counter Cinema, Feminist film theory, Laura Mulvey, Douchet, Lacan, Anti Imperialism, Third Cinema, Solanas and Getino, Third Manifesto, Indian Cinema, Satyajit Ray, Consumerism
Published in RUNG: 19.11.2018; Views: 5349; Downloads: 168
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