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Humanities Libertexts

1.4: How Theatre "Means"

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    11538
  • How theatre generates meaning is both simplistic and highly complex. Think of the theatrical space as a machine that constantly generates meaning. A bare stage can become any location by using language or gesture—our minds fill in the blanks. Actions on stage forge what we call a convention, an unspoken agreement between actor and audience concerning a fictional reality. As long as this covenant is unbroken, other fictions can be built upon it. A fun example of this concept comes from a play called Black Comedy by Peter Shaffer. The show opens in darkness but when the characters in the play experience a blackout caused by a short circuit, the stage suddenly becomes illuminated. As the actors grope around in the “dark,” we realize the convention. When the lights are on, the reality is that the characters are experiencing darkness. When the lights are out, the lights in the house have returned. Following this logic, if a match is struck or a flashlight is switched on, the stage lights dim. Entire styles of performance can be created through conventions. In musical theatre, a performer interrupts a scene to break into song. In doing so, he has constructed a world where singing as a means of expression is an accepted reality. In poetic drama, characters speak in patterned language and as long as the other characters do the same, it establishes a norm. Of course, the audience must be willing to participate in this enterprise. Back in 1817, Samuel Taylor Coleridge coined the expression “the willing suspension of disbelief ” to describe a reader’s encounter with supernatural poetry. The theatrical community has since adopted that phrase to describe the decision by an audience member to put aside any doubts about the narrative being presented. In other words, the audience chooses to believe as long as the actors hold up their end of the bargain and support the established reality.

     

    At the outset, nothing on the stage has any inherent meaning. The symbolism that is generated is entirely based on context. Visualize a chair in a performance space. At its most basic, it represents a simple piece of furniture. However, if used as a throne, it becomes a sign of power. If physically toppled, for example, it can change into a symbol of the overthrow of monarchy. In many ways, a stage is no different from a painting— everything inside the frame is open for interpretation—but theatre can constantly morph to create other meanings. In August Wilson’s play Fences, a character named Troy builds a fence around his house at the insistence of his wife, Rose. On the surface, it seems to symbolize a barrier to protect the family from the threat of the outside world. However, as the play progresses and facts about his behavior outside the home come to light, the fence comes to symbolize a kind of emotional prison shared by both husband and wife or the emotional barriers that keep people apart. Because theatre cannot help but generate meaning, it has a strong tendency to be allegorical. If a play depicts a single romantic relationship triumphing over adversity, a strong message that “love conquers all” might be communicated. If multiple couples are shown with different outcomes to their relationships, the result becomes more complex. This is why it is problematic to have a person of a particular background or ethnicity represented in a negative light when there is no positive counterpoint. Nevertheless, playwrights of color have struggled with this idea. Some believe the theatre is an opportunity for positive portrayals, while others bristle at the thought of being “ghettoized” and want to represent the human condition without being a spokesperson for their race or gender. Of course, the reception of art does not begin and end at the theatre. The conclusions we reach about the onstage world we experience are greatly influenced by the personal and cultural baggage we bring with us. Our background—socioeconomic status, history of personal relationships, familiarity with the subject matter, and so on—all influence how we interpret the fictional lives and outcomes we see. One of the major strengths of the theatre is that it helps us transcend our own preconceptions by intimately exposing us to new ideas, cultures, and subcultures. It should also be noted that stories that are deeply rooted in our own cultural traditions often have little or very different meaning to people from another one. An American anthropologist named Laura Bohannan discovered the fallacy of “universal understanding” in 1961 when she was living with a tribe called the Tiv in southeastern Nigeria. Pressed to tell a story by the elders of the village, she attempted to recount the story of Hamlet. When she told them that the ghost of a dead king appeared to demand revenge, they rejected the idea. They insisted it must be an omen sent by a witch or a zombie and that Hamlet’s father should have taken more wives. As she continued the story, it was determined, among other reinterpretations, that the only explanation for the behavior of Hamlet and Ophelia was bewitchment. “Tell us more stories in the future,” said one of the elders, “and we will instruct you in their true meaning.” Theatre practitioners forget their audience at their own peril.

     

     

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