Participatory Art and the Politics of Spectatorship - autonomous ...
Participatory Art and the Politics of Spectatorship - autonomous ...
Participatory Art and the Politics of Spectatorship - autonomous ...
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
social sadism made explicit<br />
<strong>and</strong> waiter were unwittingly played by <strong>the</strong> real manager <strong>and</strong> waiter – who<br />
said, ‘almost word for word, what we had scripted’. 66 Moreover, being set<br />
in a busy restaurant at lunchtime, this form <strong>of</strong> <strong>the</strong>atre was guaranteed<br />
always to have a full house. In Theatre <strong>of</strong> <strong>the</strong> Oppressed, Boal recounts one<br />
particular example unfolding as follows: a number <strong>of</strong> actors are seated at<br />
different tables in a restaurant; <strong>the</strong> protagonist loudly announces that he<br />
wants to eat à la carte, since <strong>the</strong> rest <strong>of</strong> <strong>the</strong> food available is too bad. The<br />
waiter tells him it will cost 70 soles, which <strong>the</strong> actor says is no problem. At<br />
<strong>the</strong> end <strong>of</strong> <strong>the</strong> meal he receives <strong>the</strong> bill, <strong>and</strong> announces that he’s unable to<br />
pay for it. (Boal notes that <strong>the</strong> diners nearby are <strong>of</strong> course closely following<br />
this dialogue, <strong>and</strong> far more attentively than if <strong>the</strong>y were witnessing it as a<br />
scene on stage.) The actor <strong>of</strong>fers to pay with his own labour power –<br />
perhaps taking out <strong>the</strong> rubbish, or doing <strong>the</strong> washing up. He asks <strong>the</strong> waiter<br />
how much he would get paid for taking out <strong>the</strong> rubbish. The waiter avoids<br />
answering, but a second actor, at ano<strong>the</strong>r table, pipes up that he’s friends<br />
with <strong>the</strong> rubbish collector <strong>and</strong> knows that he earns 7 soles per hour – so he<br />
would have to work ten hours for a meal that took ten minutes to eat. The<br />
fi rst actor says he would perhaps ra<strong>the</strong>r do <strong>the</strong> gardening for <strong>the</strong>m – how<br />
much do <strong>the</strong>y pay <strong>the</strong> gardener? A third actor pipes up: he’s friends with<br />
<strong>the</strong> gardener, <strong>and</strong> knows that he gets 10 soles per hour. By this point <strong>the</strong><br />
head waiter is in despair. He tries to divert <strong>the</strong> attention <strong>of</strong> <strong>the</strong> customers,<br />
but <strong>the</strong> restaurant is already becoming a public forum. Eventually one <strong>of</strong><br />
<strong>the</strong> actors starts collecting money to pay <strong>the</strong> bill – which <strong>of</strong>fends some<br />
people, <strong>and</strong> causes more disturbance, but <strong>the</strong>y manage to amass 100 soles. 67<br />
It is tempting to compare this level <strong>of</strong> integration between artifi ce <strong>and</strong><br />
reality to <strong>the</strong> last two events <strong>of</strong> <strong>the</strong> Ciclo de <strong>Art</strong>e Experimental. Both operate<br />
by stealth, unannounced to <strong>the</strong> public as works <strong>of</strong> art. Both turn <strong>the</strong> audience<br />
into active agents <strong>and</strong> rely on <strong>the</strong>ir intervention for <strong>the</strong> work to unfold.<br />
But whereas <strong>the</strong> actions <strong>of</strong> <strong>the</strong> Ciclo operate on a metaphoric level with an<br />
art audience, activating spectatorship as a transitive passage to political<br />
action, Boal’s work takes <strong>the</strong>atre to an audience who don’t even recognise<br />
<strong>the</strong>mselves as an audience, <strong>and</strong> stages with <strong>the</strong>m a discussion about specifi c<br />
issues <strong>of</strong> labour. For Boal, a political agenda requires precise aes<strong>the</strong>tic solutions.<br />
It is crucial, for example, that <strong>the</strong> actors do not reveal <strong>the</strong>mselves to<br />
be actors: ‘On this rests <strong>the</strong> invisible nature <strong>of</strong> this form <strong>of</strong> <strong>the</strong>atre. And it<br />
is precisely this invisible quality that will make <strong>the</strong> spectator act freely <strong>and</strong><br />
fully, as if he were living in a real situation – <strong>and</strong>, after all, it is a real situation!’<br />
68 Needless to say, <strong>the</strong> invisibility <strong>of</strong> this <strong>the</strong>atre was politically<br />
necessary given <strong>the</strong> extreme violence <strong>of</strong> <strong>the</strong> dictatorship at this point. 69<br />
Boal’s Invisible Theatre can be seen as an explicitly Marxist iteration <strong>of</strong> <strong>the</strong><br />
Ciclo’s metaphorical events (<strong>the</strong> closed gallery, <strong>the</strong> scuffl e, <strong>the</strong> prison). If<br />
<strong>the</strong> artists in Rosario produced coercive situations that function as poetic<br />
analogues for political repression (infl icting restriction on <strong>the</strong> viewer as a<br />
wake- up call to his/ her oppression by <strong>the</strong> Onganía dictatorship), Boal<br />
123