The Schrödinger's Cat Spectator
Le spectateur chat de Schrödinger - March 19, 2016
What’s on the program when the program is 'Tis Pity She's a Whore? What are we expecting to see? What are we going to see? Or rather, what are we left with after witnessing it? The initial viewing tonight at La Tempête has left me somewhat contemplative. The performance’s exuberance and contemplation of obscenity don’t seem entirely out of place. While I acknowledge the historical significance and potential relevance of such theater in contemporary settings, these aspects alone might not suffice to warrant its place in the enduring repertoire.
Reflecting on past performances involving themes of taboo relationships, such as Jérôme Savary’s innovative staging of The Importance of Being Earnest in 1996 at the Théâtre National de Chaillot, where John Worthing and Algernon Moncrieff's brotherly bond is revealed in a light-hearted yet thought-provoking manner, offers a contrasting perspective. This earlier production skillfully navigated complex themes with a touch of levity, allowing audiences to engage without overwhelming moral complexities.
In contrast, this redition of 'Tis Pity She's a Whore confronts viewers with the immediate reality of incest between Annabella and Giovanni, setting a provocative tone from the play’s outset. Visconti's 1961 portrayal, casting Romy Schneider and Alain Delon, underscored the allure of beauty despite the unsettling subject matter, a technique reminiscent of theatrical luminaries who recognize the power of juxtaposition to convey deeper truths.
Are we, as spectators, meant to grapple with this duality throughout the performance? Are we Schroedinger’s cats, oscillating between admiration for the aesthetic and discomfort with the narrative's moral implications? This interplay demands an introspective engagement with the theatrical experience, echoing Konstantin Sergueïevitch’s notion of immersing the audience within the production's thematic fabric.
While theatrical devices like disguise and twinship in baroque settings play with the blurred lines of reality and dream, this performance of 'Tis Pity She's a Whore thrusts the audience into a realm where the unsettling resides not on stage but within our own reflections. Giovanni’s character, far from being condemned, challenges us to confront our own moral compass amid scenes that simultaneously captivate and disturb.
Thus, as spectators, we navigate a nuanced journey, oscillating between the allure of performance and the ethical questions it evokes. What lingers after the curtain falls is not a straightforward resolution but a spectrum of emotions and contemplations, leaving us to grapple with the complex interplay of beauty, taboo, and the enduring power of theatrical narrative.
