Teatro relacionaluna estética participativa de dimensión política

Abstract

The aim of this thesis is to move the relational aesthetic from Nicolas Bourriaud (1998), in the context of visual arts, to theatre and to draw up a relational theatre theory, henceforth RT. Showing by the description of some examples of RT that no theoretical construction away from the contemporary theatre practice is meant but a life scene form is also expected. For the relational aesthetic the “real thing” is relational and questions what is considered to be “real”, that is to say, the way the relationships among people are established. These relationships are a disciplinary way to control, among some other things, the way the bodies are distributed on the stage. The relational aesthetic is contra posed to the hegemonic scenic device in which meanings are constructed while others look, in order to build communities, ways of being. The piece of art is no longer a monumental object which is exposed form the big cultural containers to be inserted in the concrete world. It is no meant to look for senses, to offer meanings, but to get rid of subjectivities which are imposed by the control system, in which take part the conventional cultural spaces, in order to build the event of finding in another world, of being circulating, of creating different relationships to the ones the control systems in which we live has established. The above mentioned aesthetic, moved to the scenic context is a revisionism of theatre since the conventional theatre is questioned in order to suggest other ways of interacting in the scenic reality, in other words, other “theatralities”. This new participative scenic devise would be useless and reduced to a mere stylistic thing if realities which don’t go further than personal, psychological or sensorial consequences were presented. Under the participation mask nothing is questioned, warm communities are created in which a group of people with the same interests come together to perform their opinions or sensorial journeys towards ancestral memories or experiences as park themes, or even the audience is used to build the piece, reproducing domination models, etc...