[-empyre-] concerning violence, and more Antigone's bones

[Johannes Birringer]

Several participants have now raised the idea of terror (event, representation, or the 'graphe,' the visual scaffold that Jon had implied) as cliché, and as kitsch.

Alan however has always insisted here that the abject (experience and image) invades and destroys, it causes extreme anguish.  

And we have not fully addressed it yet –   "such dissolution, falling apart, within and among the abject, that self and other are uncomfortably bound, felt as such, repulsive" (Alan) –- when we seek recourse to the narratives and theories and philosophies. (Though the notion of the abject comes, as well, via Kristeva and an anthropological analysis of dirt, impurity, and the repulsed). 

A performance, however (and thanks Erik for sharing your cryptic epilogue of Woman/Raven,  to 'Mother Courage'), when/where?  how would it respond? for whom? And relate to what Alicia names the "orientalized Debord", an other spectacle? Plenty of dust from the actions of the porn erotic of the masculinity of a populist maleness, vital, organized and lethal, like gangs like mass graves,  symmetric rituals?  (I extrapolate from Alicia, and her brief account of a more surreal sequence even, one disappearance to another finding -  estudientes/federales/narcotraficantes:  <en México, 43 estudiantes desaparecen como en un pase de magia y se descubre otra fosa común con cadáveres NN.>>

Jon -- your question is about performance?  <To ask Reinhold’s question differently: How to navigate such genealogical strata while making performances that cite and grapple with violence and terror and graphe? >
Is that not somehow the issue that Olga tried to broach, using approximate but "alienated" media strategies to re-site the evidences (say, combatant confessions in a night club called "Death Cub")?  And how does verbatim theatre grapple? is there any grappling that could answer Alan's statement of dissolution?


regards
Johannes Birringer


[Jon schreibt]