By Nichos Nunez, Ronan Fitzsimons
During this paintings the writer lines his researches with Grotowski and Strasberg, on the previous 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 advisor to the author's ritual/theatrical "actions" in addition to delivering a philosophical context for this paintings.
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Additional resources for Anthropocosmic Theatre: Rite in the Dynamics of Theatre (Routledge Harwood Contemporary Theatre Studies)
Hence in this evangelist theatre all women’s roles, such as that of the Virgin Mary, were performed by men. This prohibition was redeemed by Innocent XI a hundred years later. The fact that women’s roles were played by men was not so extraordinary for the indigenous people. They were used to this type of NAHUATLAN THEATR 25 transfer, and the seriousness with which the roles were surely played is confirmed by Horcasitas: “This psychological condition dates back to the period before Columbus. In pre-Conquest theatre, as we have seen, the characters were so possessive of their roles that not only did they believe they were gods, but the faithful also looked upon them as divine.
Northcott, (London: Routledge & Kegan Paul, 1982) pp. 31–32. 38 ANTHROPOCOSMIC THEATRE anthropocosmos. What the different techniques of imagination, and especially poetic techniques, have done in this respect, is nothing in comparison with the living promises in the history of religions. All the necessary data still survive, and are included in modern man; it is merely a case of reviving them and bringing them to the threshold of the consciousness. When he is once again aware of his own anthropocosmic symbolism—which is merely a variant of archaic symbolism-modern man will achieve a new existential dimension totally unknown to current existentialism and historicism: a way of being genuine and superior which will defend him from nihilism and historicistic relativism without removing him from history on account of this.
The peasants and pulque cultivators would ask for permission to use both the church and the internal courtyard or the interior passageways of the ranch, to celebrate their performance, “The life of the glorious apostle St. James”. So the spaces for our everyday games were transformed as my brothers and sisters and I looked on in awe, into a coming and going of men dressed in loud colours, who burned resin, wore masks and feathers and shouted, danced and drank with gusto. As part of the dance they crossed the blades of their machetes with such intensity that sparks flew up at every strike.