Bored to Distraction: Auto-performance and the Perniciousness of Presence
1994; University of Toronto Press; Volume: 79-80; Linguagem: Inglês
10.3138/ctr.79-80.006
ISSN1920-941X
Autores Tópico(s)Theatre and Performance Studies
Resumo... the fact is that most of the time when I go to the theater, I am bored to distraction. – Daniel Day-Lewis (qtd in Welch 62) This is probably the only thing which Daniel Day-Lewis and I have in common: like Day-Lewis, most of the time when I go to the theatre, I am bored to distraction. In this cranky critical mood, the thought of writing for an anniversary issue of CTR, an occasion which would seem to demand a witty, gracious response to Canadian theatre, seemed impossible. Over the past few years, I have developed an interest in the phenomena of solo performance, much of which I find particulary tedious. I could explain this boredom in facile enough terms: I am not terribly interested in this performer’s life. But I don’t think that’s the full explanation. Solo performances are often excruciatingly boring because they involve a simplistic sense of theatre, evident in their production of subjectivity in the theatre.
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