By Richard Gough
The query of phantasm and truth - the connection of illustration and lived adventure to the humanities and to broader philosophical issues - is still a vital factor in modern functionality.
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Extra resources for Performance Research 1:3: On Illusion
Words inside, I can use them, he gave me words in motion and with them a will to will my own will. No more no less than freedom, an open space for me to work upon. To be moved by joy, to laugh and smile unravelling the face, kissing in public as a weapon in the middle of aberrant movements, the slightest caress full of gaiety and how important it is to dance, to go along like a dancer, imperceptible, as if walking still by still, stretching the neck like Buster Keaton in a sudden turning upon itself, he knew that ‘his face was his torture and his source’ (Giorgio Agamben).
From the fragments he begins to construct a memory of what might be to come, a perfectly proportioned, exact, a representation, an imitation, a model if you like—a model city. (MacDonald 1987:21) This is no longer Bishop’s ideal city but a traveller’s, an anonymous figure, through which the whole process of building an imaginary world will begin again. Bishop’s act of creation in the meta-physical space of the imagination (which is, it is implied, akin to the theatre space) has failed. This is signalled in the woman’s previous utterance to the speech above in which she remarks: ‘And so he leaves.
My grandfather talks comfortably about going home when he dies. I wake up from my dreaming and turn on the artificial light in the bathroom. The sink looks odd to me…unreal, a cheap imitation of the real sink that exists in the other. Or perhaps it is an object that has no purpose in the other. And what am I doing here…with this body? But here I am, and by the time I have finished shaving everything seems normal. Illusiontext by Goat Island (1996) 16 ILLUSIONTEXT Approaching the Real: Reality Effects and the Play of Fiction Andrew Quick Re-presentation: theatre does not show ‘things in themselves’, nor does it represent them, it shows a representation, shows itself to be a fiction; it is less engaged in setting forth things or the image of things than it is in setting up a machine.