engleski

"Recycling Memories" into Theatrical Cincepts : the Politics of Memory

This paper traces the recent changes in the understanding of human mimetic mechanism and memory systems. One of the goals is to combine theoretical insight into the phenomenon of memory with performance theory and practical dramaturgy. There is an underlying presumption that none of the arts depends so much on memory as theatre and performance in the broad sense of the word. However, understanding memory dynamics seems to be essential for the analysis of any work of art based on autobiographical “ knowledge” that retains access to associated episodic memories, or on “ false” remembering that constitutes narratives based on imagined, confabulated and misremembered data. This paper, among other topics, examines dynamics of memory in Arthur Rimbaud’ s prose poetry and in Vincent Smith’ s paintings, comparing the role of personal and cultural “ memory traces” in literary narration, as well as in Smith’ s paintings. Special reference is given to the use of episodic memory in Rimbaud’ s “ false” recollections from not yet visited Africa in “ Bad Blood” from A Season in Hell. The paper points to some links between Rimbaud’ s writing and Situationist’ s theory. One of the topics is auto-reflexive performance: body and identity in a virtual space, with references to Merce Cunningham’ s Life Forms’ choreographies and Anne Bogart’ s Viewpoint techniques. The analysis of some aspects of space memory is done on the examples of Troika Ranch project Future of Memory with references to Tadeusz Kantor’ s concept of nonphysical spaces of memory.

externalization of memory, representational formats of memory storage, dynamics of memory storage, Merlin Donald, cognitive evolution, mimetic action, mimesis, memory system, Giulio Camillo, Arthur Rimbaud, Vincent Smith, situationists, Guy Debord, Merce Cunningham, Anne Bogart, Viewpoints, kinesthetic response, mirror neurons, Troika Ranch, Tadeusz Kantor

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