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10
Nicholas Ridout
Towards the end of the famous passage in which his young narrator
attends the theatre for the first time, Marcel Proust offers what looks like
a peculiar account of the physical and emotional effects of real events
on groups of people:
It would appear that certain transcendent realities emit all around
them a kind of radiation to which the crowd is sensitive. Thus it is
that when any great event occurs, when on a distant frontier an army
is in jeopardy, or defeated, or victorious, the vague and conflicting
reports from which an educated man can derive little enlightenment stimulate in the crowd an emotion which surprises him and
in which, once the experts have informed him of the actual military situation, he recognises the popular perception of that aura
which surrounds momentous happenings and which may be visible
hundreds of miles away.1
This account is peculiar for several reasons. First, it suddenly expels
the reader from the particular situation of the novels theatrical scene,
to suggest, it seems, that emotional effects the narrator is experiencing in the theatre may also be experienced outside it, as a kind of
radiation. Second, it offers an account of the transmission of news
in which technologies of communication (such as, perhaps, the telegraph) seem to generate something in the air which may be detected
by the uneducated, even when the educated man can make nothing
of the actual news in circulation, as though a confusion of different
convictions might in their mingling magically approximate the truth.
Third, it suggests that there exists around momentous happenings an
aura which may be seen at improbable distances. Why step outside the
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communication technologies that help constitute it might also contribute to popular understandings of theatrical experience. If people are
coming to think of their social world as one in which they both receive
and transmit information in the form of radiation across long distances,
then they may also come to understand the theatre as a place in which
such transmissions circulate with particular intensity. Hence this essays
invitation to the theatre, as a space from within which to contemplate
certain transcendent realities. Welcome to the Vibratorium, where
these realities are experienced in the tremors of the spectatorial body.
Theatre theorist Gay McAuley includes as a key constitutive element
in what she terms the basic apparatus of the theatre the experience of
energy exchange:
In the theatre, due to the live presence of both spectators and performers, the energy circulates from performer to spectator and back
again, from spectator to performer and back again.3
McAuley points to a number of anecdotal and autobiographical accounts of this process, while observing that these expert-practitioner
testimonies rarely enter the scholarly discourse. As McAuley indicates,
in much performance theory and historiography the anecdote is neither
valued in itself nor subjected to an analysis that might lead it towards a
more general theory of theatrical experience:
Performance analysts have hardly begun to explore the factual basis
for such anecdotal evidence, and much work is needed to understand
how the complex and subtle interchanges occur, but what is evident
from the scattered references in published sources such as actors
memoirs is that the spectators in the theatre are far from passive, that
the live presence of both performers and spectators creates complex
flows of energy between both groups, and that it is even questionable
whether what is going on can be discussed in terms of stimulus and
response. At the very least questions need to be asked about who is
doing the stimulating and who is responding.4
As Proust suggests, the stimulation appears to be mutual, and
response may determine the performance. The experience itself is one
which is constituted by a movement between, a back and forth in
which back and forth are not fully differentiated one from another. It
is an experience which is both intimate and individual (experienced
within the body as the impact of radiation) and social at the same time
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Vibratory Modernism
(experienced when we find ourselves part of the body that is the audience). Its intimacy depends upon its sociality, as the radiation described
by Proust only seems to function when there exist reciprocal bodies
through which it may be conducted or transmitted. It is the individual
experience of social reciprocity, apprehended physiologically. For
Teresa Brennan, this seems to be why what Proust calls radiation is
best thought about in terms of vibration. In Brennans account of the
transmission of affect, it is the idea of vibration that allows us to think
of this movement between bodies as social and physical at one and the
same time, and to do so in a way that allows us to continue to insist,
as Gay McAuley does in her account of theatre spectatorship, upon the
primacy of the social.5 In Brennans account
In the last analysis, words and images are matters of vibration, vibrations at different frequencies, but vibrations. The significance of this
is easily underestimated in that we have failed to consider how the
transmission through physical vibration of the image is simultaneously the transmission of a social thing; the social and physical
transmission of the image are one and the same process, but (once
more), if we have to make a distinction pro forma, the social, not the
physical is causative.6
The social relation is apprehended as physical experience, and the
apprehension of word and image the act, one might imagine, of
theatrical spectatorship is in the last analysis physical, vibratory
and social. That is to say that the relation itself vibrates. The theatrical
act of becoming someone for the other an entry into a rudimentary
sociality is accompanied by, or, rather, consists in, a vibratory adaptation of the body to the social relation, and that something similar happens in the body of the other, for whom one is becoming something.
The theatre is where we create the conditions in which we heighten our
sensitivity to our mutual becoming-for-others.
It is a widely accepted narrative of theatrical modernisation often
related in a melancholy key that the darkening of the auditorium
towards the end of the nineteenth century pacified the audience, and,
in ruthless disregard for the primacy of the social in the theatre, interrupted the circulation of energy between stage and house, between
performing and spectatorial bodies. In the light, action; in the dark,
increasing passivity. This view, most strongly associated with Bertolt
Brechts polemical and modernist critique of bourgeois realist theatre
and the demand that its spectators be reactivated into thought, might
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modern theatre, with its electric light and its darkened auditorium, may
instead be understood to have facilitated a vibratory mode of sensory
communication between actors and groups of fully active, even perhaps
electrified spectators. In other words, in attending to the vibrations that
precede speech itself, a different distribution of the sensible might be
made, through the production of a revised historical account of the
transmission of affect in the theatre.
The idea that theatre might involve modes of sensory communication that precede or exceed language is, as I have already suggested,
more readily associated with modernist experimental practice in the
second and third decades of the twentieth century than it is with late
nineteenth-century productions of classical theatre, influenced by the
recent success of such projects as Antoines naturalism. It is an idea
familiar, for example, from the writing of Antonin Artaud, for whom
the ideal theatre should work directly upon the bodies of its spectators:
Snakes do not react to music because of the mental ideas it produces
in them, but because they are long, they lie coiled on the ground and
their bodies are in contact with the ground along almost their entire
length. And the musical vibrations communicated to the ground
affect them as a very subtle, very long massage. Well I propose to
treat the audience just like those charmed snakes and to bring them
back to the subtlest ideas through their anatomies.16
Artaud is one of the two emblematic modernist reformers of the
theatre (the other, of course, is Brecht) whose assumptions of audience
passivity Rancire wishes to move beyond, on the basis of the radically
different assumption in which theatrical spectators are active participants in a scene of equality, even amid the apparently pacifying and
stratifying social conventions of the bourgeois theatre.17 The Thtre
de la Renaissance does not need to be reformed in order for this sensory and intellectual participation to be possible: the vibrations of the
pre-linguistic may be felt here too, as electrified telepathy or wireless
telegraphy.
For it is not just the theatres that are electrified, nor is it just the single
coupable spectator who received a shock at the Renaissance: the city
in which the spectators of the 1890s lived, worked, ate, drank, shopped
and went to the theatre was undergoing a process of electrification.
This process had begun in 1878, when, in conjunction with the Paris
Exposition of that year, the municipal council had decided to illuminate
the Avenue de lOpra all the way from the Opra itself down to the
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Notes
1. Marcel Proust, In Search of Lost Time, Volume II: Within a Budding Grove,
trans. C.K. Scott Moncrieff and Terence Kilmartin (London: Vintage, 2002),
p. 24.
2. Ibid., p. 24.
3. Gay McAuley, Space in Performance: Making Meaning in the Theatre (Ann
Arbor: University of Michigan Press, 2000), p. 246.
4. Ibid., pp. 2478.
5. Ibid., p. 248.
6. Teresa Brennan, The Transmission of Affect (Ithaca and London: Cornell
University Press, 2004), p. 71.
7. Neil Blackadder, Performing Opposition: Modern Theatre and the Scandalized
Audience (Westport CT: Praeger, 2003), p. xi.
8. F.W.J. Hemmings, The Theatre Industry in Nineteenth Century France
(Cambridge: Cambridge University Press, 1993), pp. 456.
9. Antonin Artaud, Theatre and Cruelty, in The Theatre and Its Double, trans.
Victor Corti (London: John Calder, 1993), p. 60.
10. Faits Divers, La Lumire lectrique 31 (1889): 3989.
11. Georges Moynet, La Machinerie thtrale: Trucs et dcors, explication raisonne
de tous les moyens employs pour produire les illusions thtrales (Paris: Librairie
illustre, 1893), p. 252.
12. John Stokes, Michael R. Booth, and Susan Bassnett, Bernhardt, Terry, Duse:
The Actress in Her Time (Cambridge: Cambridge University Press, 1988), p. 23.
13. Ibid., p. 23.
14. Ibid., p. 23.
15. Jacques Rancire, The Emancipated Spectator, trans. Gregory Elliott (London
and New York: Verso, 2011), pp. 1213.
16. Artaud, Theatre and Cruelty, p. 61.
17. Rancire, The Emancipated Spectator, p. 22.
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References
Artaud, Antonin, The Theatre and Its Double, translated by Victor Corti (London:
Calder Publications Ltd, 1993).
Beltran, Alain, La difficile conqute dune capitale: lnergie lectrique Paris
entre 1878 et 1907, Histoire, conomie et socit 3 (1985): 36995.
Blackadder, Neil, Performing Opposition: Modern Theatre and the Scandalized
Audience (Westport, CT: Praeger, 2003).
Brennan, Teresa, The Transmission of Affect (Ithaca and London: Cornell
University Press, 2004).
Faits Divers, La Lumire lectrique 31 (1889): 397400.
Hemmings, F.W.J., The Theatre Industry in Nineteenth Century France (Cambridge:
Cambridge University Press, 1993).
Maines, Rachel, Asbestos and Fire: Technological Trade-Offs and the Body at Risk
(New Brunswick, NJ: Rutgers University Press, 2005).
McAuley, Gay, Space in Performance: Making Meaning in the Theatre (Ann Arbor:
University of Michigan Press, 2000).
Moynet, Georges, La Machinerie thtrale: Trucs et dcors, explication raisonne
de tous les moyens employs pour produire les illusions thtrales (Paris: Librairie
illustre, 1893).
Proust, Marcel, In Search of Lost Time, Volume II: Within a Budding Grove, translated
by C.K. Scott Moncrieff and Terence Kilmartin (London: Vintage, 2002).
Rancire, Jacques, The Emancipated Spectator, translated by Gregory Elliott
(London and New York: Verso, 2011).
Stokes, John, Michael R. Booth, and Susan Bassnett, Bernhardt, Terry, Duse: The
Actress in Her Time (Cambridge: Cambridge University Press, 1998).
Tadi, Jean-Yves, Marcel Proust, translated by Euan Cameron (London: Viking,
1996).
Copyright material from www.palgraveconnect.com - licensed to Universiteit van Amsterdam - PalgraveConnect - 2015-10-01
18. Alain Beltran, La difficile conqute dune capitale: lnergie lectrique Paris
entre 1878 et 1907, Histoire, conomie et socit 3 (1985): 36971.
19. Rachel Maines, Asbestos and Fire: Technological Trade-Offs and the Body at Risk
(New Brunswick, NJ: Rutgers University Press, 2005), p. 85.
20. Beltran, La difficile conqute dune capitale, p. 377.