Theatre: Immunity to Lie Disguised in Truth
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Published by
Michel ODIKA
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Theatre : Immunity to Lie Disguised in Truth
Michel ODIKA
Theatre: reality delivered from the lie of being truth…
In any case, the purpose here is not really to indict the language, but to summon it to the
attention of its...
[More]
Theatre : Immunity to Lie Disguised in Truth
Michel ODIKA
Theatre: reality delivered from the lie of being truth…
In any case, the purpose here is not really to indict the language, but to summon it to the
attention of its inappropriate use - so to speak, let s beware of distorting and oversimplifying
what we say.
.
.
Looking back from the perspective of present, the point is to warn the way
misused words tend to generate misleading thoughts, so as to assume this: First, only those who
are acquainted with history can improve their stock of knowledge.
Second, because the
language has often been on the wrong side of history, its product as speech is essentially a
child of those centuries of opportunism, distortions and lies in high places, even among the holy
of holies of the so-called intellectual objectivity - i.
e.
little institutional lies from the print of
newspapers, the shock waves of TV, and the sentimental cheats of the movie screens.
But the
world is growing up, while the speech - often translated in eloquence and sometimes in hatred deliberately remains a child, a stubborn and self-destructive child but a child nevertheless.
The following lines are nothing else than a spotlight on a "Vangard Stage".
By which they also
appear to be a tribute to Thomas ELIOT, Samuel BECKETT, Harold PINTER and Wole
SOYINKA.
What to think about all of them? Well, they are all responsible for creating singular
styles of writing and playing.
However, as underground as each of their literary sphere can
become, they NEVER lose the essential root element of theatre.
In other words, they may seem
worlds away from what s going on in all but one respect: the human tragedy.
On this key point,
they do not stem from an entirely unknown source, so that it is no coincidence that they are all
tangible examples of William SHAKESPEARE s long-lasting and powerful influence.
After all:
Acting is largely a question of absorbing other people s personalities and adding some of our
own experience (Jean-Paul SARTRE, philosopher and dramatist).
To me, all these fascinating and uncompromising writers have a great deal more in common
than being major dramatists of the Twentieth Century - to judge by their influence, there is no
question that their ideas and outspokeness on global issues are still garnering them attention
outside the literary world.
Their impact has been lasting for several decades - a fact that critics
persistently harp on.
In that they all remain dominant figures in the universe of modern thought.
Two of these writers, Samuel BECKETT and Harold PINTER, may seem of such brutality that
their attacks targeted at some well-established institutions can be describes.
.
.
as a punch in the
face.
As for Thomas ELIOT, he is note worthy by his accuracy in analyzing and exploring the
human violence in its various forms - physical and visual, psychological and emotional,
political and ideological.
.
.
But all of whom, regardless of their specificities, deliberately chose
to strip the language to its essentials while generating fresh and new material.
According to Wole SOYINKA, there is no absolute point of view from which the words "truth"
and "lie" can be labelled - for instance, power, by virtue of it being control and domination,
appears to be a selective form of truth which is predominantly a.
.
.
lie.
In many respects,
therefore, theatre is nothing else than "reality delivered from the lie of being truth".
.
.
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