By Tomasz Wiśniewski
This e-book offers a pioneering severe learn of Complicite’s paintings in the course of the years. Drawing on an intensive evaluation of the to be had study fabric – together with interviews, manuscripts and the company’s personal archive – the booklet is framed inside a basically outlined learn standpoint and explores the singularity of theatre conversation. The booklet effects from an come upon among the London-based – yet cosmopolitan in scope – corporation, and a clean program of the form-oriented scholarship of japanese Europe, Yuri Lotman’s semiosphere specifically. inquisitive about the aesthetics of Complicite, this research achieves a severe distance and undertakes multidimensional scrutiny of the on hand study fabric. by means of picking the rules of Complicite’s aesthetics, the publication makes an attempt to know the company’s creative paradigm. It makes a speciality of methods of making, retaining, and interpreting meanings, instead of at the nuances of functionality or contextual issues.
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Additional resources for Complicite, Theatre and Aesthetics: From Scraps of Leather
E. Lotman’s ‘primary modelling systems’). 21. A slightly different version of the essay appeared in the Guardian as ‘My Week: Simon McBurney’. INTRODUCTION 25 22. This somehow echoes George Steiner’s observation from his 1961 essay ‘The Retreat from the Word’: ‘Language can only deal meaningfully with a special, restricted segment of reality. The rest, and it is presumably the much larger part, is silence’ (in Steiner 1970: 21). 23. Fay Lecoq claims that Peter Brook decided to invite Complicite to his Parisian theatre, Bouffes du Nord, after watching The Three Lives of Lucie Cabrol (2013: 90).
Even though he initially seems to control the theatrical situation—as ever at this phase of the performance, he is amused by the trick the show has just played on the audience—it soon turns out that the audience’s memories of recent atrocities interrupt the purely theatrical communication and give this particular performance an unrepeatable singular character. In the darkness of the crowded Bosnian theatre, McBurney/actor achieves an unexpected transformation from an onstage director to an onstage spectator, when his recorded voice poses the question of where the members of the audience were ten years earlier.
3. The importance of shifts in the name of the company was suggested by Poppy Keeling during her presentation of Complicite before Douglas Rintoul’s workshop in Sopot, Poland (21 May 2011). 4. In the ‘Glossary’ to Lecoq’s The Moving Body, Bradby provides the following definition of ‘complicity’: ‘A term used by Lecoq to mean shared understanding between two actors… or between actors and audience. It was seen as a key term by Simon McBurney and the founders of Theatre de Complicite (all former pupils of Lecoq), the company originally called itself Théâtre de Complicité’ (in Lecoq 2009: 174).
Complicite, Theatre and Aesthetics: From Scraps of Leather by Tomasz Wiśniewski