Collection > Installation
Within a given scene of Drama Therapy, when an individual attempts to reconstruct an event, (s)he has a twofold obstacle to overcome. On one hand, (s)he needs to be willing to represent the scene as well his or her own narration for others. On the other, they want to encourage others to play with reconstructing the event, creating an experience where the event might be viewed collectively. (S)he embodies oppression in some form; their objection has been suppressed and they experience feelings of frustration and disappointment. Therefore, by inviting others into this re-presentation, they ask for the audience’s judgment in order to locate a reaction or feeling, ridding themselves of alternate emotions.
They begin to reconstruct the scene in order to overcome the pain that has filled their existence. Indeed, this reconstruction is not the representation of the event exactly as it happened, but rather a manifestation of the event the way it could have happened; a symbolic take. It is possible that in the real, actions, dialogues and desires that are not in harmony with the strict regulations of the oppressor can be suppressed and attempted to be forgotten. However, in the reconstructed scene nothing is to be censored due to the fact that within the symbolic language of the play – with chairs bandaged in white cloth and knotted ropes hanging in the darkened space – it represents the swallowed anger of those participating.
The author of this atmosphere attempts to shift the minds and feelings of the audience, who are by now deeply involved with the on-stage participants. By breaking their resistance in believing the truth of the unfolding events, this creates an appropriate condition for purging the audience’s myriad feelings. The actors are aware that in such a situation, the audience is under the control of their projected emotions and must reflect upon them in order to envision the final work. Therefore, by creating a darkened environment, in which all symbolic elements are not clearly seen, a space is provided for further eruption of emotion.
It is certain that the audience knows that they are not supposed to witness the repetition or reproduction of violence in these re-created scenes. But does this awareness continue when they move away and experience a certain distress or pain resulting from another event? They are now part of the play, each assuming their individual subject positions and personal histories. Indeed, since their roles are not predetermined and are unique to their subject, they may not perform in the way the author intended. However, it is clear that each participant has helped to realize some part of the atmosphere of the event, by first experiencing (and reacting), then reviewing the events and lastly by speaking to others. This exact dialogue may ultimately lead to a collective transgression through Drama Therapy.
