4: Theatre - Women - Trespass
Theatre allows us women to live in a country and a home that is not
determined by geographical borders and where social norms are continuously
confronted and challenged. It gives us the possibility of being cultural
nomads. Even the limits and boundaries that each of us build to define
our own identity, the banks that run along the rivers of our lives,
are continuously crossed over and violated. Trespass is the very concrete
action of invading a territory that does not belong to us, and is the
abstract need to enter unknown or forbidden territories.
The theme has proven to be difficult. The interpretation of the theme has been so open that it is not always easy to get the point. Reading the articles we can
understand how a concept like "trespass" is connected to the social and
cultural background and while for some women it is deeply related to
their work, for others it is difficult even to think of going against
traditional norms. In some articles the theme is implicit in the description
of activities, in others it is a political necessity, in some the boundaries
are personal, in others the authors address the whole historical heritage
of theatre.
Trespass: intrude, transgress, invade, infringe, usurp, displease
... Crossing borders: physical, geographical, psychological, of genre,
of tradition ... Women in theatre trespass with performance art, happenings,
performances in secluded places like prisons. They trespass by going
against their own tradition and challenging their past, by not accepting
the rules, by bringing different cultures and genres together. They
trespass by making theatre in a virtual reality, by using their own
flesh as scenography, by erasing the difference between actor and spectator,
by inner change. The creative process is based on trespassing: jumping
from one level to another, using intuition and experience without respecting
a linear logic, our brain follows paths that cross boundaries all the
time. We never stop at the "no trespassing" sign when working to create
a performance. We have learnt this in actorıs training, in the apprenticeship
of directors, listening to the body's intelligence and we apply it as
a survival technique. To continue doing what we want, we must change,
adapt, go beyond our habits and find new ways, when confronted with
the realities we have chosen or which are imposed upon us. Sometimes
it is the crossing of two old paths, sometimes it is rules and bureaucracy,
sometimes the simple need to transgress that force us to find new directions
in our work.
One boundary is represented by the body. The scenic body and behaviour, and the effect they have
on the spectator, are the basis of theatre. In the need for development
and change, women in theatre reach beyond their bodies and in firm unity
with them, into society and history.
The world is changing all the time, yesterday's limits and borders
are not today's. In which direction do we want to trespass now? What
unknown and forbidden territories do we want to invade? What new and
old traditions do we want to found? Where do we want to direct our protests?
Julia Varley Holstebro, March 1999
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Editorial
This is the fourth issue of The Open Page. After the issues on myths,
lives and politics, we wanted to "trespass". The theme establishes a particular
point of view for women to reflect upon theatre in general or on the
details of their activities: theatre in itself is an act of "trespass",
and different forms of "trespass" exist within theatre.