Theatre of Ritual: Exploring the Power of Performance in Experimental Theatre Artists like Jerzy Grotowski and Antonin Artaud

As director or playwright of theater, 20th century legends are constantly exploring the many ways in which performance can impact and transform the world around us. One particularly fascinating aspect of this is the role that ritual plays in theater. Gerald  Hewitt opines, "The impulse to transform theatrical art into a kind of religious experience appeared early in the twentieth century.” In the 1950s and 1960s that experimental theatrical tsunami was rampant. One notable point is these experimental new genre is not all religious in theme but in spirit of theatrical art. However, such inspiration was drawn from many sources namely, the Greek theatre, Roman Catholic doctrines, the Noh theatre and the African masked theatre. 

Truly said, at its core, theater is a form of ritual. From the ancient Greek tragedies to contemporary experimental works, theater has always served as a space in which they can collectively engage with complex and often challenging ideas. Whether it's exploring the depths of the human psyche or confronting social and political issues, theater provides a unique opportunity to engage with these themes in a ritualistic and transformative way.

But what is it about theater that makes it such a powerful tool for ritual? Part of it has to do with the nature of performance itself. In theater, the performers and audience are engaged in a shared experience that creates a sense of community and shared purpose. This sense of community is further reinforced by the physical space of the theater, which is often designed to create a sense of intimacy and connection between performers i.e. actors and audience.

In addition to the religious aspect of theater, the use of symbolism and metaphor is also a powerful tool for ritual. Through the use of imagery and metaphor, theater can tap into deeper psychological and spiritual realms, creating a transformative experience for both performers and audience members.

Jerzy Grotowski

One example of this can be seen in the work of experimental theater artists like Jerzy Grotowski and Antonin Artaud. While Grotowski experimented on physical gestures of the actors, Artaud experimented on audiences' perceptions. Grotowski calls his theatre "poor theater" as he dismisses film or cinematic articulation of theatre and accepted the actor spectator bond prime one. This is his dramatic space where he excludes unnecessary baggage. On the other hand, Artaud’s theatre is called the theatre of cruelty because he sought to use unfamiliar and shrill sounds, physical action, intimidating lighting, incantations, masks, apparitions, groans and cries etc. to attack the audience’s nervous system. Artaud  makes his theatrical world more varied and innovative crowds of experiments. Artaud expressed such concept of his theatre in his collections of essay , "The Theatre and its  Double". 

These artists sought to create performances that were immersive and transformative, using physicality and symbolism to create a ritualistic experience for audiences. Their work challenged traditional notions of theater and pushed the boundaries of what was possible in terms of performance. 

Antonin Artaud

Of course, not all theater is necessarily ritualistic in nature. But even in more traditional forms of theater, there is always the potential for ritual to emerge. Whether it's through the shared experience of laughter or the catharsis of a dramatic climax, theater has the power to engage us on a deeply emotional and psychological level.

In conclusion it is fair to say that the theater of ritual offers a unique opportunity to engage with complex ideas and themes in a transformative way. Through the use of physicality, symbolism, and metaphor, theater can create a sense of community and shared purpose that is both powerful and inspiring. As students of theater, it is our responsibility to explore these possibilities and push the boundaries of what is possible in terms of performance and ritual.

Ardhendu De

References

1. Kim, Y. (2012). [Review of The Political Theatre of David Edgar: Negotiation and Retrieval. Cambridge Studies in Modern Theatre, by J. Reinelt & G. Hewitt]. Comparative Drama, 46(1), 111–114. http://www.jstor.org/stable/23237096

2. Tangshir, M. (n.d.). Ritual concepts in Artaud and Grotowski. Ritual Concepts in Artaud and Grotowski | Milad Tangshir - Academia.edu. https://www.academia.edu/5846014/Ritual_concepts_in_Artaud_and_Grotowski

3. Jerzy Grotowski, "Towards A Poor Theatre" in Towards A POOl' Theatre, (Holstebro, Denmark: Odin Teatrets Forlag, 1968) 15. Originally published in Polish in the journal Odra in September, 1965.

4. Senelick, L., Pixley, E., & Dukore, B. F. (1976, May). Dramatic Theory and Criticism: Greeks to Grotowski. Educational Theatre Journal, 28(2), 271. https://doi.org/10.2307/3206679

5. Georges, P. (2002, February). Dramatic space : Jerzy Grotowski and the recovery of the ritual function of theatre. National Library of Canada.