The last minutes are ticking by as more and more people are being fitted into the space – extra chairs around the table and against two walls on platforms – the participatory etiquette of these latter seat always thrown a bit in doubt, as their occupants are outside the light and beyond the strict pale of the seminar’s esthetics.
But now we’re starting. The music cuts out while David is stranded in the middle of the white box. He announces the night’s activity as the seminar’s “season finale” where political theatre will be defined the Very Last Time …
And now he’s worked his way around the tables to the black brick wall, lump of blue chalk in hand, asking for definitions …
JB: Hey, that’s the earliest Brecht has ever come up!
DL: and that’s the great thing about Brecht – you write him down and then you can forget him! But okay, why Brecht?
W1: Because he’s one of the earlier proponents of what seems political –
W2: Actually Euripides would be earlier …
W3: I just saw a play by Christopher Durang –
DL: But all these people are writing differerent things –
And now MD raises the idea of all theatre being political, which DL tries to encapsulate by writing “CATS” on the wall, which MD takes issues with – or with the snark -and they go back and forth on this in a slightly spiked, slightly joshing fort of way
MD: also political events – the inauguratio, for example
W4: theatre that asks for action from the audience
W5: is there a difference between political theater and social relevance?
M1: is it about trying to make people act politically, or is it insisting on seeing art and experience through a political prism?
DL: Okay … what about results? Hold that thought …
And we dip here into our programed part of our program …