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    Critical Article

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    265 views25 pages

    Herbert Blau

    Uploaded by

    clumsypixel
    Critical Article

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 25
    x Acknowledgments expectation shouldn't continue to be so Odd, Anonymous Needs’ \ ‘ x x = 1 “No audience. No echo, That's part of one’s death,” wrote Virginia Woolf in her diary atthe stare of World Wa Between the Acts in which the audience—"orss, scraps and fragments lke ourselves" is brotally and equivocal mirrozed ints dispersion. ‘ovek “this disparition of an echo" (Diar is a con. leepening of one of the major anxieties in the history of extending into the indeterminacies of the postmedern. If is not altogether an absence, itis by no means a reliable presence. Today when there isthe semblance: ‘tunity paying its respects nat so much to the still-echoing signals of a common set of values but to the better forgotten remains of the most exhausted illusions. Brn Squreuao sen a2uorpme ayn y>iy os 39m 2804 fora 7 se—uspeos peikopoIpied woxy umeip noe uf AarggIpox> 10} eUOTID 4p se YNs—paaiasqo an wey sun AOD UREN (ate [NS pu) avam asou pqeaBurym “poune ga gl 88 “Pur afqnivun mes 02 apou Sram uRIyR ONY Jo si mq 2p soy Snyigineyd Sjqeqosdur su yBtong dn WiisaNas samod yo Aouad jeuounsisur wv se eunesp au yo adaaqco Ave anny am pip JON “Gory Jo idsoued foe Busey anoysen ‘opise ese Kaos ox SePSSPE Bie 9 yore wonueno> # yo arxaydusoo ay sea pasI9pUN OU pp ns pu 2uMIeU 3p Ip am se “pees :9pun 07 Paks Pue palpmsam Iprym "ue aneweEp, Jo KuORUAALAD ax Jnoge sourginisp apm sem aio raveqp ap our te ay T ug fordn suonusavo seq ayqnd ap Seams = 1 ynoxp—a 50 29 ues aig Haow ag Gs proud iad aFOKD SOpEAgR Pry ‘oH SoU Af aos jo son>ead sole eo uOResyn Us foo, "op 01 9u2xpRe a sp}. yao ‘are am Ty ‘o1p suortuandos ax soy wag 10 df am sy ss3901d 34p wodn § pute = ee ee Sune oo opeea ssoupapunwijduas Kq pasaryye q we 1 sip daoy 01 ‘aunty aatzerupseadar ano 5950 34 (Kya (uOnMaAUOR SEE] 3K} 3 PaanponUT Haas 4g oq wo se) sSo00Kd Hundt axp jo sno‘ ROD amb ssojoqazoaae Ce et ee =H ‘Aenunvo> saintly oygndayp pare s1 ‘ ‘Speen snowducny ‘PPO 4Aqjevonuascos pur Aenunuco, (pis soe ‘u032e ‘S980 “ssoumunoyzad—Areynqeo0a.y{29ds su ‘opous neurezp axp yo send ain, fisbog pozninnig Wii eumeig), wo kesea ux ux paaiaeqo sem, puowhry sy ‘2g or strode a ayn st 2eyp Kayeor # uodn oot PDO. ‘Aouazedsten aind as0ys a8enue] uouwuo>« yo weaap a4p uodn ee) shesse uTmun9 axp ‘fenIgey ose wou Aq st MEDKp Jo 9HOIDYE I PK “pursyp uraqose[ rs ‘ota femoapaiut we Jo Bug suo ayp ApsTard 5. UaKp aAaT|2q fos ues nox come ¥ uF sant “GRUAPY I punore Bure|d ImoRAEA _sucauios 20) azo 2g 01 AouaBsou Jo ayn © u} poo 3Mp O55] 353K, “srope powpayy 21am aa 7 se sooen aip Sussin8sip we adape se aq osye > Aqueponred ae, yo souei8ia snopssuooun 2xp $e aM $e ‘39090, of geqord sy -yeormfod 2 ‘sdno:8 pruuaupda: ‘01 pots 2m pris Jo no uorsnpuo3 ‘a sacar “s1uai9 yUaumn9 Jo afessed Caos a UL oane AppuTUD YOR, 24,20 Hom sty ur Aypnorosun> any ox paxinbor seouaieNe 30 2IEIs 949 SRNIS UR UF sep DyPH ‘ov marepPU wad soy wy I © 20} RuOO| AOU a8 K>xp HOYT LE 403 #Pfoo] 2240 -possassodsp sistonmey> fm: pur Pa UEWSEp U99q Se ‘8nisatp dup awwamp om parade aur 2m ‘2Seur, Aq paouenuy sme 5p 'S59U2s0)9 Jo Buea v Ko sah sasschjos jo a8panjes atp uo ‘sy eouerpny ous z centrifugal age—we pretty much proceeded inthe theater were such an entity a5 a public, and as if what the public would accept a'spatrons give,” sed Samuel Johnson at the opening of Drury Lane,’ and for all the change in the twentieth century tha the instincts remain conservative isthe basis of convention- al theater—whose conventions are, inthe pastiche ofthe postmodern, ‘pow encroaching even on the avant-garde. Despite what I std of fay ‘mentation, I don’t want to be misunderstood: where performance and ‘commerce meet theres still a perceptible unity an audience that echoes its edification through all che changes of fashion—theory of value and optimism ofS Roberts and Ronald Reagan—mere few errors in the matket surveys jence is known precisely because itis a sy, conceived by Norman Lear and owned, st groups" and constituencies within fhe neutralized or homogenized in the thehomogenization fro ‘Man and In the jungle of dd, Anonymous Hoods 5 pound of fish or an opinion,” says Shlink, with ambiguous naiveté. “Or two pounds of fth or the opinion."® But even those who know, suchas, say, the Reverend Jesse Jackson, may have their wariness appropriated for the appearance of public dialogue in the economy of enterta ‘We must remind ourselves meanishile thatthe futate has no constituen iso heen appropriated by the industry, on turn Senses fod tw there arereverber ing the dissidence through anet and sell” Jungle 129) breakdancing and graffi. seductive practice—reaching autto the audience, nether in an aside nor direct address nor with the devices of Alienation, but gazing into the, dark as if caressing the sel, which is already returning the gaze, “Man petrfies and darkens,” wrote Elias Canet in Crowds and Power, “in the distances he has created.” The distance prevents the disch ‘ The Audience transfixed eyeball a reflection of coercive power. Theatrical, i has a history. In its emergence from the unconscious, the gaze is an accretion. of the formalstc box of an evolving naturalism, whose psychology persist in and ovt of the proscenium, in our thrust never does the silver screen—the gaze appe chapter, I shall say more about the depressing idea ifnot an akogether indecent one, verging on delusion. Iris often spoken of howeve Oda, Anonymous Neods 7 rd types of instiutional theater, the wanting to be loved is, yore or less displacement elirium of seeing) where ‘—with the watchers watching the w ality by the scopophilia ture. There has also been—from the ontologies 1 Theater of the ting all over again with the unalterable duplicity of presence—which, instead of congealing into closeness, | volt to congeal’ ) as viewing subject is both the idious subject marter, whic ‘were momentarily effective sequitur as the Movement theatrically blundered and bly congealed. Nevertheless, in into the performative ® ‘Tho Audiones ‘Odd, Anonymous Needs 9 myth shimmers in the luminous ref ch is che exact opposite “up against a phenome- ical one. After an fe, by way of remedy spots before our eyes when we turn away. Conversely the luminous images of the Sophodean herges—those Apollonian itions of a deep look into the horror of designed to cure an eye hurt by the ‘ye hurt by the ghastly night ie—the isfiguring mark of the audience, like the "eye of ce by the years, made grievous, glaucous, no on Dead Imagine. fiction for a capable imagination, but in regard to what the audience ‘The advent ofan audienceis, on the visible surface: cof things a ratification ofthe social, Itshould be appa 2 the normal course of things has warped into something oth surface—despite postmodern efforts to drilard has pointed out in he Shadow of plural being act in mutually opposing directions: ourwardly producing more of the social but inwardly neutralizing whatever it cohere. The erosion of an no way round the spliting escaped, iresponsble oulew™ who tsembles Oedipus and “con,

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