At the same time, the audience must have "a face, " must be able to declare itself as such, so that the individual may find his or her identity in an encounter.
By demanding an encounter and by carefully selecting spectators who will go out to meet the characters, theatre propagates group fantasy. However, this encounter is a sterile one unless it alters the inner world of all participants. There is no longer any form of expression that requires us to be visitors at the zoo, observers confined to a safety island. This "representation" of the audience in and by the actors' play must, however, be set as wide apart from politics as the opposite shores of the Mediterranean.
2) Actor...The actor needs the power to develop in his imagination a magical situation in which to implicate his audience.
The actor's function is neither "to be observed" nor "to be on display," but rather "to instigate" and "to draw in" the others.
The first step in "acting" is to create a deadlock relationship with the audience.
In order to give meaning to his stage presence, the actor must be able to invent his own language. In order to express a magical situation, he must possess the power, for instance, to jump without feet.
The actor's technique consists above all in his power to create relationships, cohesive contacts.
Theatre is chaos.
Therefore an actor must eliminate the barriers between himself and the others; he must be able to catalyze non-discriminating relationships.
Dramaturgy is the creation of a relationship. That is to say, an encounter through drama which involves the refusal to regard the actor/audience relationship as a class relationship, and the determination instead to develop a relationship both mutual and communal. Thus, the element of chance contained within group consciousness can be organized.
To act is to sustain this relationship.
It is important to understand that while the actor addresses himself to the metonymic faculties of the audience, this in itself is not drama. The actor is merely a pilot leading the way to drama.
The actor must not designate, he must name. To this end he must continually strive to modernize his style, but must never allow himself become identified with the object represented.
The actor's task, according to Roland Barthes, is a metaphorical act.
The actor must not memorize each individual action, he must, on the contrary, perpetually forget.
Each new situation is merely the accumulation of all those which have been forgotten.
3) Theatre... The theatre is neither a set of facilities nor a building. It is the "ideology" of a place where dramatic encounters are created.
Any place can become a theatrical space. At the same time, if no drama develops there, a theatre may simply become part of the landscape of daily life.
Those of us who consider ourselves dramatists take it as crucial to be able to organize our imaginations in such a way as to change any location into a theatre.
In the view of the Tenjo Sajiki group, to reflect upon theatre is to reflect upon the city.
The theory of the theatre is also that of the urban community and its topography.
"The place" is not just a geographical occasion. It is also a historically rooted structure dependent upon specific, indigenous traditions.
A close scrutiny of the contrasting notions of inside and outside as exemplified by the two sides of a door, should enable us to clarify our conception of the theatre as a space without contours.
In our play Letters to the Blind, we took pitch darkness as our theatrical space. By presenting an invisible play, we produced a fictional experience different from that of the usual drama, which is simply the reproduction of conventional story form. The dimensions of the darkness created there became an exact replica of pure theatrical space.
In The Opium War, we proposed the labyrinth as a theatrical space. The play is born out of the audience's own search for the exit. The trapped audience, searching for the exit, was a symbolic metonymy for the labyrinth, equivalent to the audience's search for the characters in a stageless theatre.
A theatre is no longer a set of facilities especially designed for performance, with seats and a stage. It is a "place" in which to seize the opportunity to seek a shared experience. But is is also a flexible span of time.
4) Text... Our concern in theatre is not to collect fresh evidence that "drama is lit-erature."
Instead, we need the form called theatre to create new types of encounter wholly different from literature, in order to fill the gap between the principles of daily reality and those of fictional reality.
First and foremost, theatre must be severed from literature. To do so, we must purge theatre of the Play.
This is not to dispute the primacy of words. But it is a mistake to consider them as equivalent to the Play. I feel that to confine the logos (the primary, original Word) to the domain of writing is short-sighted.
Speech, as I understand, is never a literary language. It is something more biological or spiritual in the sense of possessing the original function of language.
Neither theatre as literature nor literature as theatre have anything to do with the function which I assign to "words."
Is it really worthwhile reconstructing, once again, with live actors, texts that are already written and classified?
I do not mean to say that one should give up the pleasure of reading written plays. But I feel we should bid farewell to the crippled theatre of our time, which has confused the play, an independent form of literature, with the theatre, and has thus become the slave of writing, while the actor's speech is dictated by the printed word.
I prefer to regard the text not as something to be read word for word, but as a map. It is said that the history of maps is actually older than that of literature. Even in pre-history, man had to make graphic representations in order to understand where he was and how far he had to go. If the territory depicted in the diagram can be tread upon by human feet, it belongs to history. If it cannot be so tread upon, if it is an imaginary garden room, or the wilderness of human relationships or the warm intimacy of the human body, then it belongs to the realm of drama.
Just as a map may be read in many ways and give rise to many chance encounters, so, too, the text is a guiding plan that enables us to move back and forth between "interior" and "exterior" geography on an imaginary theatrical trip shared with the audience.
Source: The Drama Review: TDR, Vol. 19, No. 4, New Performance and Manifestos (Dec., 1975), pp. 84-87
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