By Nichos Nunez, Ronan Fitzsimons
During this paintings the writer strains his researches with Grotowski and Strasberg, on the outdated Vic in London, and in Nahuatlan and Tibetan theatre to reach at his layout for a special participatory theatre shape. The textual content additionally presents a realistic advisor to the author's ritual/theatrical "actions" in addition to delivering a philosophical context for this paintings.
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Extra info for Anthropocosmic Theatre: Rite in the Dynamics of Theatre (Routledge Harwood Contemporary Theatre Studies)
They may well be among the most highly-charged in this sense. We should make it clear that the appreciation we have set out here is barely the subjective and fragmented vision of an outsider, for we are a long way from finding the internal code of these ceremonies, despite having studied them and even having been lucky enough to share with NAHUATLAN THEATR 33 these people the pilgrimage to Viricota, where we took part and shared in the sublime, luminous flight in the hunt for peyote. We could also mention how lucky we were to share, up in the Mazatecan mountains, in a ceremony performed by Apolonia, the daughter and heiress of María Sabina, who by the end of her life was deeply saddened and lamented the publicity prostitution which belittled the strength of the child saints, one of the most striking and revealing rites of pre-Hispanic religion.
3 Oscar Zorrilla (died 1985) was an academic renowned for his writings on Artaud. Miguel León Portilla is a Mexican anthropologist and historian, as is Alfredo López Austin. Gabriel Weisz is a Mexican theatre director and professor of theatre. 4 Fernando Horcasitas: Teatro Náhuatl, (Mexico City: UNAM, 1974). All of the following quotations from Horcasitas come from this source—pp. 45; 50; 53; 54; 57; 74; 75; 77; 87; 104; 111; 141; 169. NAHUATLAN THEATR 21 With this reference framework, we can imagine the number of ritual, social or entertaining dramas which emerged in the Nahuatlan language.
The spectacular effect of the pastorale lies in the use of part of the convent of Tepozotlán as a stage, its large production, and the completeness of the party when the performance is over: fireworks, jars of sweets, food, drink, mariachis and so on. Without doubt, we could expand on each of these points, as we are fully aware of the richness of theatrical festivity which this pastorale contains, having directed it in 1975. NAHUATLAN THEATR 29 Elsewhere, the contact we have with a type of Nahuatlan theatre which is still alive, like the shell dance, has been quite helpful in the development of our schemes for participatory theatre.
Anthropocosmic Theatre: Rite in the Dynamics of Theatre (Routledge Harwood Contemporary Theatre Studies) by Nichos Nunez, Ronan Fitzsimons