Kent Sjöström
Docent
Authenticity, copying and the critical gaze : The crisis of representation
Författare
Summary, in Swedish
Abstract
In contemporary western theatre and actor’s training there is a tension between different traditions in the actor’s work, concerning the bodily practices that are related to representation, construction of identities, authenticity and self-expression. One aspect of the actor’s methodical tradition – the openness for suffering and sacrificing oneself in the name of the arts – will be displayed and scrutinised through examples from ancient theatre, European avant-garde, and the Method acting tradition. I will argue that this aspect is aiming at exposing the artist as a unique original, and in this way also serves the commodification of the artist’s self-presentation. In contrast to the above-mentioned moods of representation, 20th century artists and philosophers like Bertolt Brecht and Walter Benjamin are practically and theoretically challenging concepts like originality, authenticity, and the artists’ self-representation. They are instead investigating the creative and political potential in phenomena like quoting and copying, and above all a playful and critical role-taking process, not based in self-expression. I will finally argue that Brecht’s stance is in accordance with a non-essentialist view of humans and that his views are in line with some tendencies in the post-dramatic tradition.
In contemporary western theatre and actor’s training there is a tension between different traditions in the actor’s work, concerning the bodily practices that are related to representation, construction of identities, authenticity and self-expression. One aspect of the actor’s methodical tradition – the openness for suffering and sacrificing oneself in the name of the arts – will be displayed and scrutinised through examples from ancient theatre, European avant-garde, and the Method acting tradition. I will argue that this aspect is aiming at exposing the artist as a unique original, and in this way also serves the commodification of the artist’s self-presentation. In contrast to the above-mentioned moods of representation, 20th century artists and philosophers like Bertolt Brecht and Walter Benjamin are practically and theoretically challenging concepts like originality, authenticity, and the artists’ self-representation. They are instead investigating the creative and political potential in phenomena like quoting and copying, and above all a playful and critical role-taking process, not based in self-expression. I will finally argue that Brecht’s stance is in accordance with a non-essentialist view of humans and that his views are in line with some tendencies in the post-dramatic tradition.
Avdelning/ar
- Lärare (Teaterhögskolan)
Publiceringsår
2021-03-25
Språk
Engelska
Sidor
7-26
Publikation/Tidskrift/Serie
Arte Acta
Issue
4
Dokumenttyp
Artikel i tidskrift
Ämne
- Performing Art Studies
Nyckelord
- Bertolt Brecht
- Walter Benjamin
- Acting
- Actor's training
- Representation
- Identity politics
- Acting Methods
- Original
- Copying
- Bertolt Brecht
- Walter Benjamin
- Acting
- Actor's training
- Representation
- Identity politics
- Acting Methods
- Original
- Copying
Conference name
Bertolt Brecht – Contradictions as Method
Conference date
2019-11-08 - 2019-11-10
Conference place
Prague, Czech Republic
Status
Published
ISBN/ISSN/Övrigt
- ISSN: 2571-1695