Monday, 18 December 2017 | News today: 14

Eclectic theater

Aco-Stankovski-90x120

Aco Stankovski

When in the era of modernism the classical theater is deconstructed and reconceptualised in an endless possibility of finding dramatic situations in reality, in the so-called – theatrum mundi, the theater of the world, the sense of traditional conception of theater itself as an adjunct or allegorical structure within the frames of the representational art stage, begins to look for new ways for survival or, more precisely, for a new illusionist incarnation of the values ​​illusionist, which remained inexhaustible in the context of the new vision of the limits of the theater, as a creative institution, so firmly rooted in human culture and civilization.

This new trajectory of movement and evolution of theatrical art, largely derived from the experience of the stage life, begins to experiment with all possible dramatic and scientific experiences in the establishment of its new form of realization of creative ideas.

Thus, the theater and drama tradition enters into an interesting technological experiment, a desire to bring realism in dramatic illusion as much as possible, and the three-dimensional performing stage to be replaced by a two-dimensional performance of numerous lateral and auditory contents whose potential slowly, but certainly, will be equated with the hypnosis of dreams. Dreams are fictional reality (sometimes prophetic), just like the film – and art in general.

In fact, that’s how the eclectic theater has been established, on behalf of the new frontiers of suggestibility and authenticity offered by technology and its development, evolving into a new artistic codification and reincarnating in a completely new creative form, as it is the film art.

It is abandoning theatrum mundi, as the concept of consciousness and memory, and an attempt to reconstruct part of this limitless theater worldview of everything possible, to fragment and from the details of this reconfiguration of this, basically, philosophical idea, to create a new narrative concept that returning back to the rituality of dramatic art, in itself incorporates those creative activities that preceded the theater, such as literature, music and painting.

That’s how the emphasis on structural aspects, which create the theater, became stronger and more transparent.

That’s how it was created this eclectic theater, which has no intention to present us only the teleological dramatic line, but also to make us aware of all the aspects that make the theater over and over again, present in the cultural life of modern civilization.

Actually, the theater itself as art, which originated from ancient magical and religious rituals, has always been a spontaneous and limitless aesthetic laboratory in space and time, and, therefore, always a living witness to the history and spirituality of humanity, as a community of conscious and rational beings.

Така театарската уметност, по дефиниција, е синтетичка и секогаш подразбирала комплексни стратегии за својата естетичка експликација.

Thus theater, by definition, is always implied synthetic and complex strategies for their aesthetic explication.

The technological experimentation and the progress that has been achieved at this level, has always been of interest to the arts. Interestingly, the arts themselves, as codified and stratified modes  of specific aesthetic expression, not only see in each other spiritual, intellectual and emotional resources that inspire implementation and synthesis, they also see technologies and techniques, which can enrich the creative discipline and versatility of certain artistic kind or branch.

So, for example, an art exhibition by any museum that has a specific artistic and historical value in the context of the theater can be set as an ordinary scenery, where the drama or movie action will take place. But such stage decision will open a new narrative structure of a completely different aesthetic provenance or the skillful observer, which in essence, initiates parallel content and introduces a far more complex artistic worldview into the play, all depending on to what extent one sees and understands. The same goes for music implementations in dramatic content, even in the selection of performers given auditory structure, which means – with an orchestra on stage or with music matrix, which would otherwise be emitted from a device for sound reproduction. Of course, all this is related to technology and, correspondingly, is an eclectic solution.

Sometimes the stage featured film content or video clips, all depending on the needs and vision of theater artists.

And, as painting of postmodern photography is an important resource for the establishment of certain artistic visions, regardless if the artist uses them as a base on which intervenes or as documentation for their ephemeral works, so in the art of theater, technological benefits become an important part of his creative strategies and performing illusionism.

But what remains essential for any art, even for the most complex one, the one whose survival is sure in the eclecticism is the very essence of human fascination of creation.