from the pits and the shadows it feeds from the crumbs, making an appearance entertaining, defying, challenging and humanizing! before disappearing into the darkness.
Our theatre is about creating movement and tendencies; about seeking potential relationships between ideas, visions, stereotypes, words, beliefs, assumptions and those mostly unseen magnetisms that cause social construction over which we have little control. It is about cracking the lenses through which people see the world; the dogmas, authorities, strictures that pose as divine revelation or sanctified academic certainty when in fact they are culturally bound and limited by their own innate ego, histories and desires for significance and meaning.
It is also about accepting our own straight jacket of cultural limitations and gravitation; allowing the cracks to be opened and not being afraid of our own shadows … Where we differ from most arts groups is in our open disaffection with all cultural precepts; seeing culture as a bind and limiter of human progress …
even if in the scheme of things it is a necessary evil to scaffold our existence in what can appear an absurd universe. But culture is also the inherent divider that is the cause of most evil and destruction between peoples. It is the creator of the adversorial groups that must defend precepts from mythological pasts and dogmatic books.
We would rather adopt an epistomological approach; starting with a phenomenology of our existence and how we influence and react to the seemingly invisible forces surrounding and shaping us. Is this a purpose of art itself?
our most well-meant intentions.”
Our theatre must be phenomenological
A phenomenological approach to theatre, a “theatre from the cracks in the psyche of culture”, can provide interventions into the discourse in much the same way that scientific method can challenge accepted truths.
A phenomenological approach posits that art and experience are linked and necessary for the development of collective and individual understandings of our existence or at least our actions within existence.
It further posits that each action, each idea and each feeling that a person may experience is linked inextricably to deeper and wider underlying forces that are not easily identified. Our theatre can create and stimulate awareness of the questions that must be asked in order to see, not only the shadows, but also to see FROM the shadows of our worldly and physical environment.
Philosophical Basis For All Theatre Beyond the Violence
Shadow House attempts to
A defining feature of Shadow House PITS methodology and thinking is its constant attention to personal and collective challenge within the actual creative process. This can be summarized under the heading or “Organic Response”. It is used to strengthen the personal “i” through challenge and constant clarifying and rejecting.
Our theatre will harness the conceptual thinking of people such as Antonin Artaud, Bertolt Brecht, Peter Brook, Eugenio Barba and others who work in dynamic ways to open the systems of creation and presentation.
Our theatre aims to break the subsistence of cultural, artistic and spiritual ennui and commodification of all facets of contemporary life.