There are three important spaces in the theater. The stalls, the stage and what is in between. All three are irrelevant in particular and their importance, like that of politics, has more to do with what they allow to do than with what they are. The three are interchangeable and in contemporaneity there is a certain taste for turning it around and thinking that the spectators can be placed in the place of the performers. But it is just one more piece of the confusion of not being able to see the present from the outside. You can change the condition of the audience, but it will never cease to be the audience.<\/p>
Let’s say that in contemporaneity, as in the past, the tendency is to give importance to the stage while its contours are diluted. Because it is still the central space, because it seems that this is where things happen. Because everyone wants to face that place and also because the spotlights illuminate that part. And we are a lot of people who look towards the light. The rest seems to be scary. Romanticism left the idea that what is important is what happens on stage and even today we do not free ourselves from that habit. As if everything else should be subordinated to that importance. It is an absolutist tendency, I was going to say Wagnerian, but why bother now with the invasion of Poland. Postmodernity and post-drama have managed to change the forms of the stage, they have moved it, but the behavior is the same.<\/p>
What is certain is that there are three spaces like the three states of that republic that gave birth to a new empire. And in this kind of triangle that only becomes a trio when the temperature is high enough, there are nuances: the stage where the performers are and the patio where the audience is are physical spaces. They can be altered, even though it is not the same to sit in the Sal\u00f3n Teatro as in the seats of the Abanca auditorium. And the spectators can sit in the corridor or the actresses can not leave the dressing room without changing their roles. But the third space, the intermediate space between one part and the other, is an imaginary territory. Ah! Imaginary -what a word-. Imaginary means that it has no translation in the accounting books or that we can write a complete history of the theater without anyone recognizing that it exists.<\/p>
It happens almost every day that history is not written from the audience’s perspective. That the audience has no history or that it is just sitting there: formless, diffuse or liquid. Perhaps only to serve as a humanizing element. Like all those people that the parties place behind the leaders in the rallies to make a curtain less cold than a logo. And if the history of the spectators is not relevant to the theater, how can the space between a performer and his audience be relevant? But in that space where the lights begin to get lost – to use a romantic image – is where everything happens in the theater. Where each body occupies the definitive place. And someday I’m going to have to get up from my seat and start writing about that place.<\/p>
<\/p>
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What is transgressive for a theatergoer is not watching the stage. Nor is it to watch the reaction of the rest of the audience. What is revolutionary is to look at the space between the stage and the seats. A no man’s land where all things happen.<\/p>\n","protected":false},"author":51,"featured_media":236668,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","_members_access_role":[],"_members_access_error":""},"categories":[191],"tags":[],"class_list":["post-236701","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fatiga-ocular-en"],"acf":[],"post_template":"reportaxe","post_subscription":"no","pretitle":"","content_extract":"There are three important spaces in the theater. The stalls, the stage and what is in between. All three are irrelevant in particular and their importance, like that of politics, has more to do with what they allow to do than with what they are. The three are interchangeable and in contemporaneity there is a...","reading_data":{"word_count":"555","reading_seconds":"133","reading_time":{"minutes":2,"hours":0,"seconds":13},"reading_string":"2'13''","reading_human":"2 minutos"},"announcement":{"finishdate":"","finishdate_text":""},"opinion":{"subject":"","subject_info":[]},"event_info":{"startdate":"","starttime":"","enddate":"","endtime":"","entertainer":null},"interview":{"interviewed":""},"phototext":{"text_author":"","text_photo":""},"video":{"video_source":""},"promotion":{"action":"default","action_data":""},"categories_list":[{"name":"Eye strain","id":191,"slug":"fatiga-ocular-en","parent":0,"template":"default"}],"visible_author":"Camilo Franco","_links":{"self":[{"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/posts\/236701"}],"collection":[{"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/users\/51"}],"replies":[{"embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/comments?post=236701"}],"version-history":[{"count":3,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/posts\/236701\/revisions"}],"predecessor-version":[{"id":282875,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/posts\/236701\/revisions\/282875"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/media\/236668"}],"wp:attachment":[{"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/media?parent=236701"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/categories?post=236701"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pisofranco.gal\/en\/api\/wp\/v2\/tags?post=236701"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}