TY  - JOUR
TT  - The Affective Public Sphere: Romeo Castellucci’s On the Concept of the Face Regarding the Son of God
AU  - Balme, Christopher
PY  - 2016
DA  - December
JF  - Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi
JO  - T.E.D. Dergi
PB  - Istanbul University
WT  - DergiPark
SN  - 1303-8605
SP  - 97
EP  - 112
IS  - 22
N2  - In this paper I want to look at the theatrical public sphere as a realmof extreme affective arousal. The theatre today, at least in its Westernmanifestations, is largely an autonomous sphere of aesthetic experience,which only on special occasions finds topics of interest to the larger publicsphere. The relationship between the public sphere and the theatre is, inmy understanding of the term, a relationship between inside and outside,between the internal dynamics of exchange between stage and auditorium,performer and spectator, and the more difficult interconnections betweenthe generally closed realm of performance and the wider dynamicsof political and social debate. A theatrical performance is something thatnormally takes place between spectators and performers who enter intoan artistic contract, which is therefore outside and beyond state controland moral censure. I shall look at a recent example where this functioningcontract was exploded. The production On the concept of the face, regardingthe Son of God, created by Italian director Romeo Castellucci and histheatre Socìetas Raffaello Sanzio has led to violent protests in France andItaly coordinated by Catholic groups who have been joined on occasionsby right-wing and Islamist groups as well. I shall examine the productionand the public protests surrounding it in an effort to understand how thetheatrical public sphere functions in a mediatized society.
UR  - https://dergipark.org.tr/en/pub/teddergi/issue//277767
L1  - https://dergipark.org.tr/en/download/article-file/322072
ER  -