By J. Thompson
Functionality impacts explores functionality initiatives in catastrophe and struggle zones to argue that pleasure, attractiveness and occasion could be the foundation for the politics of community-based or participatory functionality perform, looking to realign the sector of utilized Theatre clear of results in the direction of an affective function, attached to sensations of enjoyment.
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Additional resources for Performance Affects: Applied Theatre and the End of Effect
The modesty of this claim is, therefore, politically necessary and ethically responsible. The tactical realm is the one in which performance programmes might find a space that ensures that they may counter but not (in this particular context) confront the wider strategic political world. To develop this argument, I want to use another term from de Certeau – that of the ‘wig’ or in French perruque. This concept is useful for this context because it reinserts a political intent into the ‘private’ applied theatre practice – but one that is focused on the playful, critical and tactical.
Applied theatre as strategy or tactic? The necessity for a more carefully planned and deliberate development of the interrelation between the public and private aspects of applied theatre – what Chapter 6 calls an intervention in the ‘distribution of the sensible’ – is not only a call for the private practice to have a correlating act of ‘public’ explanation or advocacy. While this would be a good idea, the argument here is that, in order to manage the interaction of private and public in contested situations, applied theatre needs to consider the difference between tactical and strategic performance practices.
This requires an advocacy of the private (a politics of the intimate) and a critical encounter with the public (the shape of which is the subject of Part II). This meeting does not mean cooperation with powerful voices operating in different contexts but a wry ‘conformity’ that still allows space for evasion. This is an engagement with a strategic and tactical realm that will be analysed below. These concerns are echoed in the chapters that follow in Part I, with Chapter 2 proposing an ethnographic perspective that locates performance practice outside the narrow politics of trauma relief, and Chapter 3 that holds onto affect so that we do not compete on a discursive terrain that may be complicit with genocide.