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Vaniria Setser
Breaking is an urban dance style that originated in the United States in the 1970s. With roots in hip-hop culture, breaking first took form in the lively block parties in the Bronx borough of New York, and is characterised by acrobatic movements, stylised footwork, and the key role played by the DJ and the MC (master of ceremonies) during battles.
Breaking featured at the Summer Youth Olympic Games in Buenos Aires in 2018. Following its outstanding success at the Games in Argentina, breaking was added to the Paris 2024 Olympic programme as a new sport.
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This week on HowlRound we continue our exploration of Theatre in the Age of Climate Change, begun a year ago, in honor of Earth Week 2016. How does our work reflect on, and respond to, the challenges brought on by a warming climate? How can we participate in the global conversation about what the future should look like, and do so in a way that is both inspiring and artistically rewarding?
On the most basic level, ancient Greeks were ruled by a bunch of unpredictable gods whose whims directly affected every aspect of human affairs. Largely ignorant of the natural forces shaping life on Earth, people assigned power and knowledge to these supernatural beings and lived under their capricious rule. Then, as empirical knowledge developed through the study of science, some of the powers previously assigned to gods became better understood and a single Almighty God replaced the jolly bunch. The Almighty God prevailed until the industrial revolution when our increased resources and self-reliance moved us away from the divine and into the arms of mega-corporations.
While one hopes that society is changing and our relationship with the world around us is becoming more compassionate and aware, I'm afraid that Aristotle's pyramid is still relevant because people haven't changed in 5,000 years. We still struggle for survival, for dominance and power, we are still the same short-sighted, self-centred beings we were when we first emerged from the ooze; a less linear, cause and effect dramatic structure cannot prevail until human nature is transformed.
Maybe you and Ari could reconcile. His "theory" does not have to be connected to hierarchical dominance - he just needs to take his own ego out and realize he was not creating rules, he was describing orgasm. You both could create a dramatic life where you give good play and take a new position by including us, the audience, in a shared moment of climax.
Tita Anntares (www.anntares.com)
Maybe you and Ari could reconcile. HIs "theory" does not have to be connected to hierarchical dominance - he just needs to take his own ego out and realize he was not creating rules, he was describing orgasm. You both could create a dramatic life where you give good play and take a new position by including us, the audience, in a shared moment of climax.
I was hooked from the title of this article but remained genuinely surprised throughout. The title suggested a break up letter to Aristotle that would contains qualms with his patriarchal beliefs and narrative structure but delivered so much more. I was intrigued with the links drawn between his views that put man as the highest importance and authority in a society and subsequently the most important in the stories that we tell. This article reminds me that as a portion of the storytellers in the world we have a responsibility to present views and create realities that we want to be present in our world. Aristotle's story structure has shaped our society into a force that has sustained to this point but will soon burn out. We continue to tell a story where the smallest portions in the story or the wealthiest in a society are at the top and the rising/falling actions or poor are simply used as the forces to propel the "climax." I agree that this is extremely problematic and it is up to the storytellers to change the shape of the stories we tell and the message we want reflected. I was so happy to have found this article. I have been struggling with some of these larger ideas and finding the links to other parts of society helped me breakdown the idea even further.
Aristotle was a scientist, not a dramatist. He was not trying to tell theater makers how things should be, but rather what works and why. Action and reaction are still the basis of all physics (quantum included) and plays that lack causality will always be doomed to the recycling bin.
Aristotle defined causality as being the one thing that necessarily has to follow another in order to move the action forward. I'm saying that this definition is too restrictive now and that causality can be fashioned in a lot of different ways that are more expansive than what Aristotle initially envisioned. In quantum physics an action causes a number of possibilities to be revealed. There isn't a one-to-one exclusive cause and effect.
I suppose so, but we don't live on the quantum level. That stuff is fascinating (extremely so to you and I, it seems) but we live on the cellular level; in a world where phenomena, like global warming, have specific causes and specific effects. Also, causal structure has certainly been employed to examine these quantum questions. (If/Then, Sliding Doors etc) Anyway, just one fellow playwright's opinion. Your article is certainly evocative! (And lo, isn't that the point of a think piece?)
I get your point. And I'm happy the article is giving us the opportunity to exchange ideas. I've never read Brecht's critique of Aristotle (or if I have it was in graduate school and I don't remember). Thanks for the recommendation. I'll take a look!
I respect your point of view but I do think that structures, as much as content, communicate a specific message. It is true in the world in general: Government structures, economic structures, family structures are all a reflection of a specific set of values. And then within those structures we find out how individuals enact their own personal stories. I think the same is true with playwriting.
I agree with you that all writers don't need to break up with Aristotle. Everyone should be able to choose what works best for him or her. However, being conscious that we are making a choice when we use the Aristotelian structure goes a long way. The traditional structure has long been the unquestioned default. Everything else was considered "experimental." I don't actually know if there is one most effective structure for transformation but I believe the challenge of trying to find out is worth it.
For my own work as a writer and performer, I've begun to find that fiction narratives themselves have also lost their usefulness. I'm writing in a kind of associational non-fiction style now, linking ideas in a syncopated, jazz-inspired way. It feels more like building a network, rather than a pyramid. And it feels right to me.
Hi Chantal, I am breaking up with the guy too! As a matter of fact, we have been parting ways for about 3 decades. But, the funny -- or maybe 'tragic'-- thing is that, alas, my STUDENTS do not seem to want to let go of the paradigm. Just last week in a senior level Latina/o theater class (I am a part of the Latina/o Theater Commons right here on HowlRound) my predominantly Anglo theater majors and I had a discussion about the 'well made play' (they in favor/ me against). Me: "This class is about THEATER... not just 'plays'. Must everything that goes up on stage, i.e. the theatrical experience, follow Freytag's pyramid? WHY? Who says?" They: "Professor, the Aristotelian dramatic concept has been around a looong time, so there must be some good reason why it would withstand the test of time.... It is emotionally more satisfying for the audience to know there will be that structure." Me: "But aren't we TIRED of it yet? I am!" I am several decades older than they are and, apparently, much more open-minded to change. And, THAT is disturbing. Thank you for your article, I will certainly share with my classes.
Thanks, Teresa! I think part of the problem may be that people don't have enough of a reference frame as to what non-Aristotelian plays might look like. Or maybe the references are so "out there" that they can't relate to them. I don't know but it's sad that in a country that so values innovation in other fields (business, for example), there is such a resistance to innovation in the theatre.
Maybe because I come from a Latin American theater background I have seen incredible, innovative work in places such as Buenos Aires, Argentina, and Mexico City. I know Santiago, Chile has a great international theater festival called Santiago a Mil where some of my friends have seen exciting new forms. Lima, Peru and Bogota, Colombia are also huge centers of experimentation with form, and this has been going on since the 1960s. Just go to NYU's HEMI website to see some of it! It is remarkable that the US looks towards Europe and even the Far East but not to its closest neighbor to the South for a creative dialogue. Actually, except for the mega musicals that seem to have tremendous global export value, in Latin America the stuff we see here in the US is perceived as somewhat provincial and antiquated. Oh yes!
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