4 from ritual to theater and back: the efficacy ... - AAAARG.ORG

drama, script, theater, and performance 85
The play stopped. Shelton talked to the man, inviting him to stick
around after the play ended. About fifteen spectators remained after the
play and the argument almost became a fist-fight. I don’t recommend
resolving a performance by fisticuffs, but I do say that this event was
definitely part of the performance called The Tooth of Crime for that night.
In TPG’s Tooth, the environment developed into two interrelated
spaces, each of which sponsored a special kind of interaction between
performers and spectators. The private side featured intimacy, oneto-one
scenes, sharply focused and defined, lighting areas, sotto voce delivery
of lines, and direct contact between performers and spectators
(ad-libs and asides). The public side featured big numbers, agonistic
stances, intense rhetoric, bright, general lighting, formal inclusion of
the audience in a contest. The kinetic activity of the audience encouraged
a detachment, a critical attitude. Each spectator was self-conscious
enough to move to where the action was, station herself in an advantageous
position to see, and decide what her relationship to the theater
was to be. Often enough people changed places in mid-scene. This is
not participation in the Dionysus sense. It is each audience educating
itself concerning the difference between performance and theater. The
theater event people saw remained the same regardless of what perspective
spectators adapted, but how that event was received changed.
Instead of being in a predetermined relationship to the theater event
each spectator was able to modify this relationship scene by scene.
These modifications were usually not thought out. In moving, the
spectator discovered his attitude regarding the play. He learned that he
can control the performance, even if the performers control the theater. As every
member of TPG from that time can testify, performances of Tooth varied
widely, much more so than performances of Commune. This is so
because the performance-control aspect of the audience is activated in
Tooth. The mood of the audience – as directly conveyed in how its
members moved, positioned themselves, and reacted to scenes (sometimes
these signals were communicated very subtly) – firmly controlled
the feel of each night’s rendition of Tooth.
This control occasionally ran against what I wanted to do, but I had
to yield to the audience. For example, I wanted the second round of the
fight to break the frame of the arena, travel around the space in a wide
circle, and return to the arena. When the second round is over, the Ref