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Michiel Alberts,
Michael Beards,
Roberto de Jonge,
Bram de Sutter, Djibril Diallo, Janica Draisma, Janica Draisma, Eibenschutz, Claire Fleury, Saar Frieling, Paulien Geerlings, Liesbeth Gritter, Jeanette Groenendaal, Gonnie Heggen, Christiane Hommelsheim, Robbert Kiem Hwat So, Cees Krijnen, Michelle Kurzenacher, Nadine Lavern Coles, Christiane Lopes da Cunha, Roberta Marques, Nancy Mauro-Flude, Ghani Minne, Yasha Musatov, Allessandro Nico Savino, Nicola Nord, Stefano Odoardi, Roy Peters, Marta Pisco, Janja Rakus, Kees Roorda, Sanchez, X, Ine te Rietstap, Betsy Torenbos, Nicola Unger, Mette van der Sijs, Wouter van Loon, Judith Wilske, Pepijn Zwanenberg, |
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name: Jeanette Groenendaal
title: Ja dat is Peter! text: Thank you very much for this overwhelming Welcome. The title of my talk tonight is `If Nothing Happens` reflections of the human drama in an almost classical world. First of all I have to say that I am very gratefull for the musical introduction. Gratefull and humiliated at the same time because a performance like this makes you feel what you miss as a filosopher or as a person who is condemned to speak from a desk or from a table. I agree that it is more inspiring to give a talk from a bigger table like this one, the afternoon table was a little bit smaller than this one, but the basic was the same. And I felt this profoundly when I saw this beautifull female singer walking around this room because she gave us a true lesson in generosity. Because What is generosity, to accept peoples looks and glances from all sides. The actor is precisely the person who dares to step out and allow people to see you from behind. This is part of my discourse, because discourse holders usually never have someone in their back, People who talk make sure before they start that there is nobody behind them. They confront the audiance always from their own desk and they talk to them under their own conditions and they are condemned to admid by the very situation that thinking and cowardism convert. You never allow someone to be in your back while you are talking. On the other hand it is necessary to have your back free, otherwise people would think you donít say what you would say if there were nobody behind you. It is a symbol of our independance if we keep our back free as we speek. But the truth is, it is impossible to speak and to tell something wich is relevant for peoples lives if there is not an invisible army of voices and commentators and prophets that send you forwards and that grand you this liberty of speaking in front of other peoples. First of all let me tell you what is the elementary feature of my relationship with theatre. For many years I have been looking for a kind of Theatre that is not an offence to the intelligence of the spectator. I very often feel a kind of uneasiness with theatrical performances because what performance very often show is less than I know. How does this happen, or they show something that I know already and all they can do is to confirm my beliefs. How is it possible that Theatre does rarely say something new. I want to deliver a couple of refelctions in order to provide and answer to this, uneasiness that deserves to be elaborated. Off course I have to start with a reference to Nietsche. He was the thinker on the stage, he was a man who gave the most profound inspirations for modern reflections on the essence of the theatre. You all know certainly what he wrote in his famous book, 'The birth of tragedy out of the spirit of music.' I am not going to repeat his argument you all remember that he delivers a kind of deduction of theatre out of the conflict of two major forces: out of the conflict of dream and the forces of rausch, a kind of drunkenness. Drunkenness and dream are the two as it were natural instincts that provide you basic insipations for dramatic productions. But tonight I am not going to deal with this dialectics of the appolonian, the dream like forces and the musical forces the drunkenness forces that he names by the name of the greek god Dionysos. I want to draw your attention to a later work of Nietsches criticisms of drama, his book the dramatic art of Richard Wagner that he published towards the end of his conscious live Here we found a very profound diagnoses......... I would love to listen and write this whole lecture to hear it again,to write it for you as well but pressed the wrong button on a mini disk and deleted deleted. !Dasarts has video recordings and I will.....but now first: . That very evening after the lecture G-net accompanied Margreet to her home and on the Zeedijk suddenly the full body of Rene Gude jumped up exstatic in front of us.. (RG is the tour operator of P.S. in Holland) 'Would you like to join Peter Sloterdijk for a BEER?' First a Question of Consience ladies: 'Did you Vote Yes Or No?'. We stepped untill closing time we ve been reciting sensouos faustian invitations to Greetchen, and have a hearty poetical talk on the Horoskope of PS, After a Red Light District bubbletime we made a next appointment at Station Sloterdijk, if you wanna join email G-net@chello.nl and do the DasArts The next week I ran into a Peter Again, !!! image:    |
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