'Lament: candles and compost' audience feedback
Submitted by Lachlan Plain on Thu, 06/07/2006 - 22:50.
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Amazing...
I was so blown away by the sheer scale and intricacies of the work. Recontextualizing the Jesus narrative with the gothic Vicorian era horror motifs was inspired and brilliantly realised. The dual between the city creatures was so unexpected but a really nice touch. Your two lead actors were amazing, (Liv already knows how much I love her work to bits, and it was nice seeing her play something tender, human and exquisately rendered - rather than the grotesque type roles she is usually pigeonholed in by directors like myself). The shadow work was the best I have ever seen in theatre in terms of both performance and realisation. If I were to make any criticism, it would only be of the brief moment of having the male shadow comically "bone up" for the female shadow. I personally just felt it was out of place and that it detracted from the intensity of the work. There were other moments of darker humour (peeling the skin off the bones) that worked because they tied into the piece's themes. An amazing job - I will be recommending this to everyone.
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Lament Feedback
I have just come home from seeing the show and I have lots to think about and say.
The conceptual fulcrum of the peice is based on a Nature-Culture dichotomy. By appropriating and deploying a series of recognisable symbols (Jesus, the two Marys [mother and whore], the city, skull and bones, gravesite and tree) the work negotiates its semiotic elements through narrative. A journey of Birth-Death, Nature-Nurture, Growth-Decay and ultimately Nature-Culture are organised to influence the audience to think about their relationship to society and the earth.
The method of this narrative is a surrealist stream-of-conciousness. The images are fleeting and lacking substance which is quite cleverly realised through shadow play, suspended moments, surreal figures (puppets), movement and gesture. The surrealist idea of a merciless Nature being privileged over Culture is also quite strong, and directs me to a left politico-environmental reading. This is supported with flyers against uranium mining being displayed to the audience at the front-of-house.
I slightly disagree with Rohan (above) and am not disturbed by the castration of Jesus during the shadow-play. It made me immediately begin to read the work through a Freudian psychoanalytic of castration anxiety and the oedipal complex. From this reading a new, quite interesting, dichotomy emerges; Mother(Mary#1)-Whore(Mary#2). The use of the oedipus complex is strongest and most interesting aspect of the work for me. I have always wondered why the new testament authors (Mathew, Mark, Luke and John) would conflate the Mother of Christ (Mary #1) with the sinner/friend of Christ; the Whore (Mary #2). I remember religion teachers (I was raised catholic) always getting frustrated and embarrassed when their young students confused the two characters.
In Lament, the castrated penis becomes the seed that the city grows from. The growth of the city in this way converts Culture into a natural event which, of course, privileges Nature, however there seems to be no privilege between the Mother and the Whore. This is a curious absence, as the other dichotomies appear to have hierarchy (Freud would describe this as a neurosis). For this reason I enjoyed the dichotomy of the Mother-Whore the most. The bent, erotic stripping of the Mothers dress by the Whore, mid-way in the show was a wonderful emphasis of these ideas.
I recommend people see this work, and follow Sanctum Theatre as it develops. Thank you all, for an entertaining show.
Hmmm
I guess my issue was not with the "castration" or "boner" (gotta love that word, btw); but rather that it didn't sit so well with the rest of the show for me. It felt like forced humour, and detracted from the themes of mourning and the relationship between living matter and dead matter (decomposition / life force etc). I guess everyone reads everything differently, and responds differently... For example, I thought that the stripping of the black dress for the white was a kindof symbol of the Mary figure giving up her grief and accepting the repatriation of the body into the earth. One thing though, which I really cannot reiterate enough, is that I felt the show was amazing. It was just that one (small) aspect that didnt gel for me personally.
Dichotomies
We definitely approached the female characters as a archetypal dichotomy - whore/mother - but as fluid rather than concrete archetypal dichotomy. We were intending to present the fluidity with which these kinds of dichotomies function within the individual and within society. And I accept that there is more than a dichotomy at work within a person at the one time - perhaps a complex web of dichotomies - but it was useful to isolate these particular archetypes for theatrical purposes.
And I object to your comment about the 'man/nature' dichotomy. I agree that it is easy to interpret this play within that particular conceptual framework, however it wasn't concieved in that manner.
I personally believe that where the man/nature dichotomy has been a useful tool for modern man to conceptualise and manage his world - as the Cartesian dichotomy has - but - as with the Cartesian dichotomy - it essentially misses the point.
I have always objected to the word Nature, especially with a capital 'N', as this infers a 'Nature' seperate from man. I don't believe that there is any single nature but a plurality of natures operating in a web - or a series of systems. The 'nature of a man', 'the nature of a eucalypt', 'the nature of a city', 'the nature of a rock'.
Anyway, glad you enjoyed it.
Lachlan.
Nature /Culture
I agree that each thing has its own nature, and I am intrigued by your description of a 'plurality of natures'. That the multiverse has a number of natures each with its own physic and biology.
My point above is that 'Nature' is a construction of man. We can never know what actual nature is, because it is determined by our culture. In this sense we have no knowledge of nature, only of culture's contruction of it. This guy Latour may be of interest to you Lach, he negotiates similar territory of biology and religion.
"The work of French sociologist of science Bruno Latour may serve as an example of this nonpolarized approach to the vision of nature as culture, and its implications for science and religion. Latour’s reframing of science and religion follows from a larger argument he has made about modernity (Latour 1993). Latour detects two contradictory processes at work in modern societies: first, the increasing proliferation of hybrids mixing nature (the physical, “objective” world) and culture (the human, “subjective” world), and second, the recurrent tendency of purification, which attempts to reinforce the epistemological separation of nature from culture, object from subject. At the very moment in history, in other words, that the science wars seem to pit objectivity against subjectivity, the evidence of complicated intertwinings between the two realms seems unmistakable. Latour’s contention is that objectivity and subjectivity are modern myths that support a whole host of questionable dualisms, many of which refer directly to science and religion as antipodes (Latour 1999).
Latour proposes to replace these dualistic terms with blended notions, e.g. the notion of “factish” (combining fact and fetish) which implies that both scientific knowledge and religious belief are fabricated, but must be well-fabricated in order to be epistemologically or morally defensible. Science, to Latour, is a craft constructing knowledge of reality; but not just any construct will do, as all scientists know. The operative question to Latour is not “Is it real or is it constructed?” but “Is it constructed well enough to become an autonomous fact?” (Latour 1999, 274). Latour’s analysis points out the structural similarity between typical scientific and religious authority, in that both are defended in terms of their ostensible autonomy from human construction, whereas to Latour both could be more realistically defended in terms of how well-constructed their truths are, acknowledging the relatedness of subject and object as a necessary precondition versus an inevitable weakness.""" + read more
My honours paper is due tomorrow - I am in essay mode. Sorry if that bores anyone. :)
Not a bore. Thanks. You seem
Not a bore. Thanks. You seem to have a theorist for every occasion.
The politics of the show plus a post script about boners
In regards to Alex's comment about the literature in the foyer:
I had no intention of aligning the show with any 'wing' or 'side' of politics. However placing the show within an environmental framework was entirely intentional...a framework which political comentators tend to lump in with the 'left' for expediency - not to say that the communities engaged in social politics don't tend to overlap with those involved in environmetnal politics, but essentially environmentalism could potentially be either 'left' or 'right'.
Lament is unabashedly inspired by contemporary environmental thought...not the Malthusian conservationism nor the Romantic naturalism of the Modernist environmental movement, but a more open, pluralist model.
The environmental thought from which Lament takes its inspiration encompasses ideas such as synergy in regards to the structure of the universe and permaculture in regards to human design. There is a finite amount of energy in the universe but an infinite (or incomprehensible) number of permutations and combinations this energy could take. In this ideaology the biosphere of the earth accomodates a web of ecosystems that require a degree of balance and biodiversity to remain healthy. It is more about remaining dynamic than evolutionary progression. As is the narrative of Lament.
PS: In response to Rohan's observations:
The 'boner' wasn't at all gratuitous. Lament is about fertility (or 'resurrecton') as much as it is about death. It is about human fertility as much as it is about the fertility of the soil. None of the imagery is subtle but it's all open-ended. Alex's castration theory is entirely valid (and I'm glad that it made him feel that way) but it wasn't everybodies experience and it wasn't intended. Admittedly the original intention was never realised for technical and time restraints - the original intention being that the Body breaks apart and, preceded by the penis, each part of the body births a tree/building. But for me it was most important that the 'boner' be planted in the soil and regrow. The individual polinating his/her world as well as being pollinated by it.
I agree
In the sense that the 'boner' (great word) stood out uncomfortably, I agree. It was a bit illustrative of the idea of Culture (the castrated Penis of Christ) seeding the city.
In your reading of reconciled grief with the body to the earth (the stripping from black to white) is also there and you articulated that better than I could.
If fact, the more I think about it the more I think both our readings are complementary. In the Mother reconciling the repatriation of The Body of Christ to The Earth, she reasserts her similarities to the Whore in that she too is dressed then in white. By accepting Nature as dominant over Culture, Mother Earth and Filthy Dirt become one.
The relationship and lack of distinction between the two Marys is striking... and when they interact by shareing their grief and reconciliation and when finally they are dressed both in white with glowing 'pussys' (another great word), it is as if we are seeing in double. They are both at once the Mother and the Whore. This quite disturbing idea is, I think, wonderful.
Anything that twists the new testament like that, is worth seeing.
I should put my cards on the table
Okay, here's my point - plain for all. I think the show is great and really worth seeing. My critique is a philosophical difference, not a question of the shows merit. I personally think that the diachotomy of Nature-Culture is a reduction.
I like the Mother-Whore complex because it creates a non-binary structure. It is a third thing. The Marys are Mothers and Whores and Mother-Whores. That doesn't need a hierarchy. They are all three symbols and none of them are privileged.
I would like to see that non-binary structure also applied to the Nature-Culture dialectic. So that it is not a matter of dominance. The Body of Christ can be nature, culture and nature-culture.
Actually the other thing I really liked was another pairing in the show. The mono-binary of the city creatures - which look fantastic by the way. The dialectic of two things that are the same (creature versus creature) is quite interesting when in conflict. This critical construction of war, or oppositional logic, is exactly what I am talking about. The fact that they were fighting over Culture (the Bones of Christ) is also interesting. However, this being contextualised as somehow being a part of the folly of Culture as a justification of Nature's dominance, lead it back into binary logic.
But man, those city creatures sure looked great, and when they came out of the stage, I was really capitavated.
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You certainly hit a bull's eye. Never read such clever explanation. It's very comprehensive and convincing. Very interesting.Thank you for your essay.
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