DUNJA ZUPANČIČ :: MIHA TURŠIČ :: DRAGAN ŽIVADINOV

There are two basic presentation strategies at work on stage: the charisma strategy and the skeleton.

The charisma strategy appears in the moment that the body becomes known on stage. In the beginning, the body never appears through a “role”, but through a “face”. The face is the first stage for the viewer’s transcendence. The viewer who sees the face together with the other viewers immediately experiences and analyses it. With the passing of stage time the viewer demands the development of experience or its abolition. He demands from the face that it becomes a “dynamic face”, or a role. If this does not happen, the viewer wants to abolish the “body and face”. The less “face charisma” there is, the sooner the viewer wants to abolish the actor’s body. Abolishment of the body in the theatre happens through interruption by a spectator! The more charisma there is, the later the interruption from the audience.

The skeleton strategy comes into effect when the body appears on stage. On stage there are as many bodies as there are skeletons. The skeleton begins to perform choreographic diction before the viewers, a concrete choreographic motif. It becomes the moving carrier of suggestion. When more than half the audience is subconsciously repeating this motif, the suggestion has been carried out.