Sorin Crişan

THEATRE: METAPHOR AND THE SUBLIME OF BETRAYAL
TEATRUL: METAFORA ŞI SUBLIMUL TRĂDĂRII
A SZÍNHÁZ: A METAFORA ÉS AZ ÁRULÁS FENSÉGE

Exhibiting the real in a certain form (subsumed perhaps to the mystery on interiority), the stage responds to the spectators, to their emotions and thoughts, reconsidering them, changing them and suggesting a start or re-start on the way to themselves and the others. By imposing an effort of seeing and hearing through the metaphor, the spectator learns again the way to himself.

Key words: stage metaphor, spectator psychology, jouissance, interpretation, performing time

Any performance refers first to the time of representation. Exhibiting the real in a certain form (subsumed perhaps to the mystery on interiority), the stage responds to the spectators, to their emotions and thoughts, reconsidering them, changing them and suggesting a start or re-start on the way to themselves and the others. Time is the term on which the persuasive force of the onlooker depends, even if the mystery of the direction of time is less interesting in theatre. Therefore, re-dimensioning the very existence, time is a witness of direct confrontations between aesthetic and ethical reflections. The meta-discursive self-references, such as the aparté or the play within a play, seem to be sketches of accidental, secondary interferences, valid within the context of their legitimate role: the exploration and ontological reflection of the real. And, on another level of the separation of I from You, of a praxis of separation and differentiation from the World, from the concrete of any hic et nunc, with all the benefits implied by the new directing “procedure codes”.
Meta-theatricality, as a specific meta-language, would be the loop theatre exercises upon itself, often justified, but always reflecting itself most seriously, avoiding thus the inconvenient enthusiastic manifestations. In fact, the self-reference of the play-within-a-play