Mac Wellman — Postdramatic

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Mac Wellman

Mac Wellman is Donald I. Fine Distinguished Professor of Play Writing at Brooklyn College.

Theater is a fractal phenomenon.

Theater is a fractal, in the sense that when you take all the drama out of the architectural enclosure of a place you have not removed anything. Certainly not the drama.

You have not removed the drama because drama in the truest sense is everywhere and nowhere. This is the strangest thing a person can know but it is true.

Drama is likewise a species of repression, and therefore likes to hide. Drama exists for herself alone sub specie aeternitatis.

Theatre says, Showbiz showbiz showbiz. Drama says, This will kill that.

In other words, if a person in a play is being dramatic (which is to say melodramatic, at least in the context of Anglo-American theatre); and say you do not like this Being Dramatic as it is heavy-handed, obvious, and over-determined; and say you decide to take this person out and shoot him and happily do so; and say you go and take this dead person and stuff him down the hole the poor GOSLING mistook for HOOLE space and so fell down in folly and was eaten alive by small chattering creatures of the tribe of the Berkeley Silver-Tipped Fennec. And so forth. And anyhow the Dramatic Person has been removed and peace and quiet have apparently returned but only apparently because unlike apparence what is apparently the case is only an appearance and often thus a case of the unwarranted assumption. The audience notices that although the Big Person of Drama has been removed the total amount of drama per se—drama qua drama remains the same. Only one does not know exactedally where it is; only you do know it is there because the space of the theater is full of strangeness and charm: apparence. Because there is now very little going on does not mean there is nothing going on. Because if your mind and senses have not been numbed and dampened down by continual din of the theatricality of appearance, hooting and holleration, and all the other forms of extensive manifold conboberation—you will begin to feel the prickle of the uncanny as one of the remaining actors does a nothing-something with her great toe (the left one) within the house of her shoe, one of a pair of pretty red pumps.


Spirit is action; to dramatize is to think against the self. (Kierkegaard and Hegel)

How are we to read the Mechanism of the world? How are we to portray the world?

The pressure of that which is “outside” language, this is the force that fills what has been incredulously deemed empty.

That pressure is repression. What fills that empty place is apparence.

Because the world is broken we cannot get our representations right.

(Indeed, to say someone else is responsible is to step off of the carousel.)

The pressure of that which is outside language effects language nonetheless.

This can happen because in the theater as in life (theater is not like life; it is life) we cannot will such and such an outcome, except on a trivial level.

Other outcomes determine what moment what event what realization what slight but infinitely significant physical gesture (such as the indignant flaring of the little finger).

The willing will cannot be fully expressed in the act, as measure, except in the realm of what is already known.

Architectural-sculptural necessity determines all acts of the agent expressed as will.

The arc of this process is what causes wonder.

Wonder is the occasion of passing from one state to another.

In the apperception of wonder the distinction between mind and matter is set to one side; unless we are dead to the world we are touched to the heart

Σ

and nothing more is seen to be done. Space and moment are filled with what they are filled with.

Repression has done her work rightly.

Repression has, therefore, created the theatrical manifold.

Accordingly, there are two kind of manifolds (Hulme); those which can and those which cannot be taken apart.

There is another way of regarding the matter; for there are several degrees of manifoldyness depending, for instance, on the degree of strangeness and charm.

Depending on the degree of explainability and non-explainability.

Depending on whether a manifold can be unfolded in time (or time as though it were space, i.e. phase-space).

Depending on the scatter effect, which is the flow of intelligence through visible space.

Depending on the nature of the questions raised.

Depending on the nature of the question framed if it is different from the question raised.

Sometimes apparence and the apperception of that apparence are dimorphic, and have to do with the gap or tear that is revealed; the discontinuity that has been inscribed and the question that is framed.

This discontinuity appears on a perpendicular to the square of the narrative of the Aristotelian, and falls under the rubric of the strange.

The strange is the new dimension that is formed.

We are all aware of the strange, but there is no easy way to talk about this in terms of appearance.

This radiant is the perfect; he indicates what is beyond, perpendicular to the square of the Already known.

Charm is what occupies the space so filled.

Charm and DETAIL form an intensive manifold.

In the world of Apparence, DETAIL functions much like Dramatic Action on the plane of the Aristotelian.

Dramatic action on the plane of the Aristotelian drives out detail.

Dramatic action drives out detail because it is like the actor who is in fear of being upstaged.

When we are in fear of being upstaged then we do our best to upstage everyone and everything else.

The foreground is a perpetual crisis.

The foreground is a perpetual crisis and the background disappears.

This crisis is a perpetual Roaring Boy and a darling of the plebeian.

The better sort of plebeian who is the crested idiot.

The crested idiot fancies himself superior because he is interested in the only sort of detail consistent with the predilection of the Roaring Boy: psychological detail.

How is psychological detail different from other detail?

Psychological detail is usually nested safely (and solely) within the precincts of the Already known.

We experience the Aha! of recognition.

Psychological detail reminds us of what we already know we think about ourselves.

Psychological detail allows us to stop thinking.

Repression flees as soon as psychological detail shows up.

We relax and stop thinking and shed a tear (ear) in sentimental regard for our self when we were young and naive and perhaps a little innocent.

A false picture appears (an interior appearance).

A false picture appears and apparence is gone.

Excerpted from “Speculations: An Essay on the Theater” (2004), in The Difficulty of Crossing a Field.

See Also

Character — Mac Wellman

Media — Marianne Weems

Installation — Judy Hussie-Taylor

Romeo Castellucci, On the Concept of the Face Regarding the Son of God, 2010. Philadelphia Live Arts Festival, 2013. Photo: Kevin Monko.

Geoff Sobelle in The Object Lesson at the Kirk Douglas Theatre. Photo: Craig Schwartz. Courtesy of Center Theatre Group.

Ivo van Hove, A View From the Bridge, 2014. Performance view, Young Vic, London. Foreground: Mark Strong. Photo © Jan Versweyveld.

Paul Chan, Waiting for Godot in New Orleans, 2007. Photo: Frank Aymami. Courtesy of Creative Time.

Andrea Fraser, Projection, 2008. Still from a 2-channel HD video projection installation. © Andrea Fraser. Courtesy of the artist and Galerie Nagel Draxler.

David Levine, Bystanders, 2015. Installation view, Gallery TPW, Toronto. Performer: William Ellis. Photo: Guntar Kravis.

VALIE EXPORT, TAPP und TASTKINO (Tap and touch cinema), 1968. © 2016 Artists Rights Society (ARS), New York / Bildrecht, Vienna. Photo © Werner Schulz.

My Barbarian (Malik Gaines, Jade Gordon, and Alexandro Segade), Broke People’s Baroque Peoples’ Theater, 2010. Courtesy of Alexandro Segade.

Richard Maxwell, Neutral Hero, 2012. The Kitchen, New York. From left: Janet Coleman, Bob Feldman, Lakpa Bhutia, Andie Springer, Jean Ann Garrish. Photo © Paula Court.

Miguel Gutierrez and Tarek Halaby in Gutierrez's Last Meadow, 2009. Dance Theater Workshop, New York, September 2009. Photo © Ian Douglas.

Mac Wellman, Muazzez, 2014. Performer: Steve Mellor. Chocolate Factory Theater, Queens, New York (a co-presentation with PS 122). Photo: Brian Rogers.

Janine Antoni, Yours Truly, 2010. Ink on paper, 5 7/8 x 8 1/2”. © Janine Antoni. Courtesy of the artist and Luhring Augustine, New York.

Yvonne Rainer, score for “Trio B: Running,” from The Mind Is a Muscle, 1966–68. Graphite and ink on paper, 8 5/16 x 7 5/16". The Getty Research Institute. © Yvonne Rainer.

Susan Leigh Foster, The Ballerina’s Phallic Pointe, 2011, a performed lecture in the series Susan Foster! Susan Foster! Three Performed Lectures, produced by The Pew Center for Arts & Heritage and performed at the Philadelphia Live Arts Studio, 2011. Photo: Jorge Cousineau.

Opening performance of the exhibition “Trisha Brown: So That the Audience Does Not Know Whether I Have Stopped Dancing,” Walker Art Center, Minneapolis, 2008. Brown improvises movements across a large piece of paper on the Medtronic Gallery floor, holding charcoal and pastel between her fingers and toes, drawing extemporarily. Photo: Gene Pittman for Walker Art Center, Minneapolis.

Allora & Calzadilla, Sediments Sentiments (Figures of Speech), 2007. Mixed-media installation with live performance and pre-recorded sound track, dimensions variable. © Allora & Calzadilla. Courtesy of Lisson Gallery.

Martha Rosler, Meta-Monumental Garage Sale, The Museum of Modern Art, New York, 2012. Courtesy of the artist.

Lucinda Childs, Pastime (1963), 2012, performed by Childs at Danspace as part of Platform 2012: "Judson Now." Photo © Ian Douglas.

Siobhan Davies and Helka Kaski, Manual, 2013. Photo © Alan Dimmick. Courtesy of Glasgow Life.

“Performance Now,” curated by RoseLee Goldberg. Installation view, Kraków Theatrical Reminiscences, Poland, 2014. Photo: Michal Ramus. Courtesy of Independent Curators International (ICI).

Steve Paxton, Intravenous Lecture (1970), 2012. Performed by Stephen Petronio with Nicholas Sciscione. Part of Platform 2012: “Judson Now,” curated by Judy Hussie-Taylor, Danspace, New York. Photo © Ian Douglas.

Installation view, “Dance Works I: Merce Cunningham—Robert Raschenberg,” curated by Darsie Alexander at the Walker Art Center, Minneapolis, 2011. Photo: Gene Pittman for Walker Art Center, Minneapolis.

Chief Dalcour and the Serenity Peace Birds in “Public Practice: An Anti-Violence Community Ceremony,” curated by Delaney Martin and Claire Tancons for New Orleans Airlift, October 25, 2014. Photo: Josh Brasted.

Ain Gordon and David Gordon, The Family Business, premiered 1993. Performers: David Gordon, Ain Gordon, Valda Setterfield. Photo: Andrew Lichtenstein. Courtesy of the photographer and Pick Up Performance Co(s).

Hotel Modern, Kamp, 2005. Photo: Herman Helle.

Janine Antoni, Anna Halprin, and Stephen Petronio, Rope Dance, 2015. Photo © Hugo Glendinning. Courtesy of the artists and The Fabric Workshop and Museum, Philadelphia.

Sarah Michelson, Devotion Study #1—The American Dancer, 2012 Whitney Biennial, February 26, 2012. Photo © Paula Court. Performers: Eleanor Hullihan and Nicole Mannarino.

Ralph Lemon, How Can You Stay in the House All Day and Not Go Anywhere?, 2009. Archival print from original film. © Ralph Lemon.

Pope.L, The Great White Way, 22 miles, 9 years, 1 street (Whitney version), 2001. © Pope.L. Courtesy of the artist and Mitchell-Innes & Nash, New York. Photo: Lydia Grey.

Iannis Xenakis, Terretektorh, Distribution of Musicians, 1965. Collection famille Xenakis. Courtesy of the Iannis Xenakis Archives. © Iannis Xenakis.

Lisa Bielawa, Chance Encounter, premiered 2007. Co-conceived with Susan Narucki. Photo: Corey Brennan, 2010, Rome.

Claudia La Rocco, 173-177 [or, Facebook Is Inescapable], 2013. Headlands Center for the Arts. Courtesy of José Carlos Teixeira.

Pina Bausch and the Tanztheater Wuppertal, Palermo, Palermo, Brooklyn Academy of Music, 1991. Photo: Maarten Vanden Abeele.

Tomás Saraceno, Observatory, Air-Port-City, 2008. In “Psycho Buildings: Artists Take on Architecture,” curated by Ralph Rugoff, Hayward Gallery, London. Courtesy of the artist and Tanya Bonakdar Gallery, New York.

Christian Marclay, Chalkboard, 2010, paint and chalk, 210 x 1,045 inches. Installation view, “Christian Marclay: Festival,” 2010, Whitney Museum of American Art, New York. Collection of the artist; courtesy of Paula Cooper Gallery, New York. Photo: Christian Marclay.

Steven Schick at the “Peacock” in the Paul Dresher Ensemble Production of Schick Machine, 2009, by Paul Dresher, Steven Schick, and Rinde Eckert. Mondavi Center, UC Davis, Davis, CA. Photo: Cheung Chi Wai.

Ralph Lemon in An All Day Event: The End, part of Platform 2012: “Parallels.” Danspace, New York. Photo © Ian Douglas.

Installation view, “Allison Smith: Rudiments of Fife & Drum,” The Aldrich Contemporary Art Museum, Ridgefield, CT. Photo: Chad Kleitsch. Courtesy of The Aldrich Contemporary Art Museum.

David Levine, Habit, 2012. Installation view, Luminato Festival, Toronto, 2011. Photo: David Levine.

Meredith Monk, Shards (1969–73), 2012. Part of Platform 2012: “Judson Now,” curated by Judy Hussie-Taylor, Danspace, New York. Photo © Ian Douglas.

Berlin, Bonanza, 2006. A documentary project focusing on Bonanza, Colorado, population 7. © Berlin. berlinberlin.be.

Gob Squad, Kitchen (You’ve Never Had It So Good), 2007. Photo © David Baltzer / bildbuehne.de / Agentur Zenit Berlin.

Kit Galloway and Sherrie Rabinowitz, Hole in Space, 1980. On screens in front of Lincoln Center and The Broadway department store in Los Angeles, passersby could see and talk to their counterparts on the opposite coast, and many “reunions” were quickly set up, in this early example of video conferencing. Courtesy of the Sherrie Rabinowitz and Kit Galloway Archives.

Hans Haacke, News, 1969/2005. Installation view, “State of the Union,” Paula Cooper Gallery, New York, 2005. © Hans Haacke / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Courtesy of the artist and Paula Cooper Gallery, New York.

Pauline Oliveros, circa 1967. Courtesy of the CCM Archive, Mills College, Oakland, CA.

The Builders Association, Elements of Oz, 2015. Photo: Gennadi Novash. Courtesy of Peak Performances @ Montclair State University.

Ain Gordon, A Disaster Begins, 2009. Veanne Cox. Here Arts Center, New York. Photo: Jason Gardner. Courtesy of the photographer and Pick Up Performance Co(s).

The Wooster Group, BRACE UP!, 1991. Directed by Elizabeth LeCompte. Anna Köhler (on monitor) and Willem Dafoe. Photo © Mary Gearhart.

Joanna Haigood and Charles Trapolin, The Monkey and the Devil, performance installation, 2011. Performers: Matthew Wickett, Sean Grimm, Jodi Lomask. Photo: Walter Kitundu.

Jarbas Lopes, Demolition Now, in “SPRING,” curated by Claire Tancons for the 7th Gwangju Biennale, Gwangju, 2008. Photo: Akiko Ota.

Lisa Bielawa, Crissy Broadcast (part of Airfield Broadcasts), San Francisco, 2013. Photo: James Block.

Erwin Wurm, One Minute Sculpture, 1997/2005. © Erwin Wurm. Courtesy of the artist and Lehmann Maupin, New York and Hong Kong.

Ethyl Eichelberger as Minnie the Maid, 1981. Photo: Peter Hujar. The Peter Hujar Archive. Courtesy of Pace MacGill and Fraenkel Galleries.

Wu Tsang with Alexandro Segade, Mishima in Mexico, 2012. Color HD video, 14:32 minutes. Courtesy of the artists, Clifton Benevento (New York), Michael Benevento (Los Angeles), and Isabella Bortolozzi (Berlin).

Young Jean Lee, Untitled Feminist Show, 2012. Baryshnikov Arts Center, New York, 2012. Hilary Clark, Regina Rocke, and Katy Pyle. Photo: Julieta Cervantes.

Romeo Castellucci, On the Concept of the Face Regarding the Son of God, 2010. Philadelphia Live Arts Festival, 2013. Photo: Kevin Monko.

Jérôme Bel, Le dernier spectacle (The last performance), 1998. Photo: Herman Sorgeloos.

Troubleyn / Jan Fabre, Mount Olympus, 2015. Performance lasts 24 hours. Photo © Wonge Bergmann for Troubleyn / Jan Fabre.

Siobhan Davies Studios, Roof Studio, London. Photo: Peter Cook.

Emily Roysdon, Sense and Sense (a project with MPA), Sergels torg, Stockholm, Sweden, 2010. Courtesy of the artist.

David Lang’s home studio. Photo © Jorge Colombo.

Marcel Duchamp, Bicycle Wheel, 1964 (replica of 1913 original). Wheel and painted wood. Philadelphia Museum of Art. Gift of the Galleria Schwarz d’Arte, Milan, 1964. © Succession Marcel Duchamp / ADAGP, Paris / Artists Rights Society (ARS), New York, 2016.

Historical interpreters from Freetown Living History Museum, as part of Allison Smith’s 2008 project The Donkey, The Jackass, and The Mule, with the Indianapolis Museum of Art. Photo: Allison Smith and Michelle Pemberton.

Rimini Protokoll, Situation Rooms, 2013. Photo © Ruhrtriennale / Jörg Baumann.

Jeanine Oleson and Ellen Lesperance, We Like New York and New York Likes Us, 2004. A “wry look back” at Joseph Beuys’s performance with a coyote, I Like America and America Likes Me, René Block Gallery, New York, 1974. Courtesy of the artists.

Christine Hill, Volksboutique Organizational Ventures, 2001. Mixed-media installation, Kunstverein Wolfsburg, Germany. Courtesy of Ronald Feldman Fine Arts, New York.

Andrea Fraser, Museum Highlights: A Gallery Talk, 1989. Performance. Performance documentation: Kelly & Massa Photography. Courtesy of the artist. © Andrea Fraser.

Theaster Gates, Dorchester Projects, Chicago, 2012. © Theaster Gates. Photo © Sara Pooley. Courtesy of White Cube.

John Cage, two pages from 4'33" (original version, in proportional notation), 1952/1953. Ink on paper, 11 x 8 1/2" each sheet. Acquired by The Museum of Modern Art through the generosity of Henry Kravis in honor of Marie-Josée Kravis. © 1993 Henmar Press Inc. All rights reserved. Used by permission of C. F. Peters Corporation. Photo © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY.

Yoko Ono, Painting For The Wind, summer 1961. First published in Yoko Ono: Grapefruit (Tokyo: Wunternaum Press, July 4, 1964). © Yoko Ono.

Rosemary Lee, Square Dances, 2011, commissioned by Dance Umbrella. Square Dances took place in four central London squares throughout a day, with different casts in each: 10 children in Woburn Square, 100 women in Gordon Square, 35 men in Brunswick Gardens, 25 dance students in Queen Square. Each performance involved bells, ranging from a huge church bell that struck every minute; to a handmade musical instrument using bells within its barrel structure, created and composed by Terry Mann; to tiny hand bells for the dancers. Photo: Hugo Glendinning.

Joanna Haigood and Wayne Campbell, Ghost Architecture, 2004. An aerial dance installation centering on the architectural and social history of the site. Yerba Buena Center for the Arts, San Francisco.

Ann Hamilton, the event of a thread, 2012–13. Park Avenue Armory, New York. Curated by Kristy Edmunds. Photo © Ian Douglas.

Robert Wilson and Marina Abramović, The Life and Death of Marina Abramović, premiered 2011. Park Avenue Armory, New York, 2013. Foreground: Willem Dafoe. Photo: Joan Marcus. Courtesy of Park Avenue Armory.

Richard Maxwell, Neutral Hero, 2012. The Kitchen, New York. From left: Janet Coleman, Bob Feldman, Lakpa Bhutia, Andie Springer, Jean Ann Garrish. Photo © Paula Court.

Ann Liv Young, The Bagwell in Me, 2008. Photo: Scott Newman, Revel in New York.

Xavier Le Roy, “Retrospective,” 2012–. Fundació Antoni Tàpies, Barcelona, 2012. Photo: Lluís Bover. © Fundació Antoni Tàpies.

Ethyl Eichelberger as Minnie the Maid, 1981. Photo: Peter Hujar. The Peter Hujar Archive. Courtesy of Pace MacGill and Fraenkel Galleries.

David Levine, Habit, 2012. Installation view, Luminato Festival, Toronto, 2011. Photo: David Levine.

Rimini Protokoll, 100% Yogyakarta, 2015. Teater Garasi, Yogyakarta, Java, Indonesia. © Goethe-Institut Indonesien / KDIP Viscom.

Bebe Miller Company, A History, 2012. Angie Hauser and Darrell Jones. Photo: Michael Mazzola.