Through a discussion of Peter Brook’s The Tragedy of Hamlet (2000), Complicite’s Mnemonic (1999), and Song of the Goat’s Macbeth (2010), we see clear examples of how these productions are using ‘no-place’ theatre as a site for embracing cultural equality (rather than cultural ambiguity) on stage as these productions all search for the universal values which bond different cultures together.
The expansion of the global market has inevitably had an incredible impact on the shaping of contemporary theatre. This can especially be felt through the rising popularity of ‘no-place’ theatre, which often strips back cultural specificity and replaces it with spectacle. Dan Rebellato refers to this theatre as “McTheatre”, a genre under which he includes big brand productions such as The Blue Man Group, Cats and The Phantom of the Opera. These productions often embrace cultural ambiguity in a way which allows them to both move anywhere and (even more importantly) sell anywhere. Their ‘no-place’ quality allows for their ‘every-place’ relevance, as they and sometimes even profit more from their merchandise than their actual shows
Hence, the values of these productions are very much the values of the global market, to sell as broadly and quickly as possible.
While such a discussion may give the label of ‘no-place’ theatre a negative association, globalization has also led to another strand of theatre, one which becomes a response to (rather than the result of) globalization. This is the theatre produced by artists such as Peter Brook, Complicite theatre, and Song of the Goat theatre, companies who go against the grain of the global market by using ‘no-place’ theatre as a site for returning to cosmopolitan and Universalist values, rather than the global market values. Unlike globalized commercial theatre, the ‘no-place’ quality produced by these artists is in no way the result of cultural ambiguity; instead, these companies chose to represent a variety of different cultures on stage, linking these productions to a place that is both here and there. But above all, by striving to represent different cultures on stage, these companies return to a sense of cultural equality, one which embraces Universalist values, which Zygmunt Bauman notes.
Table of Contents
1. CULTURAL EQUALITY IN THE WORLD OF ‘NO PLACE THEATRE’
2. PETER BROOK’S THE TRAGEDY OF HAMLET
3. SONG OF THE GOAT’S MACBETH
4. COMPLICITE’S MNEMONIC
Objectives and Themes
The research examines how specific contemporary theatre productions utilize the concept of "no-place theatre" not as a commercial tool for globalization, but as a site for fostering cosmopolitan values, cultural equality, and the rebuilding of human connections in a fragmented world.
- The impact of "no-place theatre" and globalized commercialism on contemporary performance.
- Peter Brook’s use of transcultural signs to transcend ethnic and cultural "otherness."
- Song of the Goat Theatre’s regression to pre-cultural forms to explore spirituality and human disconnection.
- Complicite’s investigation of collective memory and subjective identity in a nomadic global society.
- The role of minimalist dramaturgy and the physical body as tools for universal communication.
Excerpt from the Book
The power of Brook’s universal language is more sharply explored in the entrance of the first player and his initial performance.
The first player, performed by Japanese artist Yoshi Oida, enters Hamlet’s household and upon Hamlet’s request for a “passionate speech” performs a piece of Greek theatre. Yet the player performs this in a foreign language, one which Lavender identifies as: An Orghast-like set of onomatopoeic sounds, a pure display of rhetorical effect a little reminiscent of the sort of primal language which Brook and Ted Hughes developed in Orghast in 1971 (Lavender 2001, 235).
The player is first interrupted by Polonius, and then continues again, this time with all his force as he incorporates his entire body, using butoh-like movements and speaking with an incredible amount of passion and power. Yoshi Oida grows louder as he stands up and begins to slash his sword through the air, while the second player maternally cradles an imaginary baby, slowly lowering it to the floor. When the speech is finished, Oida looks at the second player and starts to cry. The verbal language is for most spectators, completely indecipherable, yet the body language is highly captivating as it gives another life to the indecipherable sounds of these words which now hold the attention of both characters on stage and the audience. This key moment in the performance becomes a strong symbol for a language which transcends its cultural limitations, and reaches a level of universal legibility.
Summary of Chapters
1. CULTURAL EQUALITY IN THE WORLD OF ‘NO PLACE THEATRE’: This chapter introduces the theoretical tension between commercial "no-place theatre" and its alternative use by artists to promote universalism and cultural equality.
2. PETER BROOK’S THE TRAGEDY OF HAMLET: This section explores how Brook utilizes minimal staging and the physical body as a transcultural sign to foster communication that transcends linguistic and ethnic barriers.
3. SONG OF THE GOAT’S MACBETH: This chapter analyzes the company's focus on pre-cultural spirituality, lamentation, and unified physical movement to critique materialistic greed and address human disconnection.
4. COMPLICITE’S MNEMONIC: This final chapter discusses how the production uses fragmented, nomadic narrative structures to explore the complexity of collective memory, identity, and the subjective nature of history.
Keywords
No-place theatre, globalization, Peter Brook, Complicite, Song of the Goat Theatre, transculturalism, universalism, cultural equality, memory, identity, materialism, physical theatre, dramaturgy, human connection, subjectivity.
Frequently Asked Questions
What is the core argument of the publication?
The publication argues that while "no-place theatre" is often associated with the superficial homogenization of global markets, specific theatre companies use these same spaces to interrogate globalization, returning to universalist values to highlight shared human experiences.
Which theatre companies are the focus of this analysis?
The work focuses on three distinct entities: Peter Brook’s production of The Tragedy of Hamlet, Complicite’s production of Mnemonic, and Song of the Goat Theatre’s production of Macbeth.
What is the primary research goal?
The primary goal is to examine how these theatrical productions utilize the "no-place" quality to create a site for cultural dialogue and the re-establishment of human bonds in contrast to consumer-driven global entertainment.
Which research methodology is employed?
The author employs a qualitative analysis of contemporary performance, combining theatrical theory (such as the work of Patrice Pavis and Maria Shevtsova) with sociological perspectives on globalization (notably Zygmunt Bauman) to deconstruct performance staging and dramaturgy.
What is the thematic focus of the main section?
The main sections evaluate how specific elements—such as body language, minimalism, lamentation, and the blurring of fact/subjectivity—serve as tools for transcultural communication and collective reflection.
What defines the term "no-place theatre" as used here?
It refers to theatre that is stripped of specific cultural indicators, allowing it to move across global markets, though the author distinguishes between its commercial application and the "counter-global" use by the discussed artists.
How does Song of the Goat Theatre use music in their production of Macbeth?
The company uses traditional instruments like the kayagum and vocal lamentations to access the "pre-rational" and spiritual self, forcing the audience into a space of reflection that bypasses cognitive interpretation.
In what way does Complicite’s Mnemonic relate to the concept of memory?
The play explores memory not as a stable, objective record, but as a collective and subjective experience, showing how individuals struggle to define their identity when their history is fragmented and "intertwined."
How does Brook handle the issue of ethnicity in his casting?
Brook disrupts traditional ethnic grouping by using alternative linking devices like color and costume, effectively transforming the actor's body from an ethnic sign into a universal one.
What does the "leaf" metaphor in Complicite's Mnemonic represent?
The leaf serves as a metaphor for the complexity of human ancestry and interconnectedness, illustrating that family and cultural lineage are ungraspable, meddled, and deeply entangled patterns rather than linear histories.
- Quote paper
- Francis Grin (Author), 2011, Cultural Equality in the World of ‘No Place Theatre’. An Analysis of Peter Brook’s ‘The Tragedy of Hamlet’ ,Complicite’s ‘Mnemonic’ and Song of the Goat’s ‘Macbeth’, Munich, GRIN Verlag, https://www.grin.com/document/1033197
