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| 2009 | |
| R&D |
A theoretical and practical re-appropriation of the effects of pathos in the theatre.
The project returns to the concept of pathos, unpopular in the world of the performing arts. Having had negative connotations since at least the end of the 19th century, today it is used primarily to qualify a certain type of acting. The term is however capable of covering the entire spectrum of emotional effects that a spectator can experience.
The term is however capable of covering the entire spectrum of emotional effects that a spectator can experience. The hypothesis at the heart of this research was that this concept, extended to most of its historic avatars and encompassing all the constituent elements of contemporary performance, has great potential not only in terms of scientific knowledge and technical expertise, but also in interpersonal relations, insofar as an artistic approach is defined as a process whose purpose is to question and act in a social context — a context which today is particularly open to ‘manipulators’ of emotions. Pathos could therefore be re-appropriated cognitively, aesthetically and politically, with the focus resolutely on practice.
