By Nichos Nunez, Ronan Fitzsimons
During this paintings the writer strains his researches with Grotowski and Strasberg, on the outdated Vic in London, and in Nahuatlan and Tibetan theatre to reach at his layout for a different participatory theatre shape. The textual content additionally offers a pragmatic consultant to the author's ritual/theatrical "actions" in addition to providing a philosophical context for this paintings.
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Extra info for Anthropocosmic Theatre: Rite in the Dynamics of Theatre (Routledge Harwood Contemporary Theatre Studies)
In some places it is dotted with Spanish, with the sung voice in Nahuatlan; in other areas, it is the other way round. The performances or celebrations are mobile, and hence not easy to locate. It could be said, as anthropologists confirm, that these ethnic groups, with their rites and celebrations, are tending to die out in a relatively short space of time. 28 ANTHROPOCOSMIC THEATRE Paradoxically, as recently as 1985, we watched in Mexico City a play directed by Andrés Segura, who is said to be one of the inheritors of Mexican indigenous tradition.
This battle is essentially internal. The performer is striving to maintain the level of attention in the “here and now”, by offering energy to the essences, with energetic resonance in the external world. These three points of contact, the reader will remember, are exactly the same as we have shown for the Tibetan “Black Hat” dance. It disturbs us that two theatrical rite dances, so far apart from each other, should essentially unite the same intentions. Might it be due to coincidence, as we have mentioned, or to a common ancestral source NAHUATLAN THEATR 31 for the two cultures?
In this way, Miguel León Portilla confirms in Horcasitas’ text the existence of four dramatic forms of Nahuatlan theatre before the Spanish Conquest. It must be noted that the Nahuatlan language, as Horcasitas tells us, “also known as Mexican or Aztec—is divided into three dialects: náhuatl, náhuat and náhual. Náhuatl is the language of the Mexican plateau,” and its influence extends—or extended—from the north-west USA to Nicaragua. 3 Oscar Zorrilla (died 1985) was an academic renowned for his writings on Artaud.
Anthropocosmic Theatre: Rite in the Dynamics of Theatre (Routledge Harwood Contemporary Theatre Studies) by Nichos Nunez, Ronan Fitzsimons