Conceptual Foundations and Challenges of Engagement
Dr. Mohammed Jalal Arab
Introduction:
Theater distinguishes itself by its yearning for transformation, change, and shifts in structures, forms, and formats. What justifies this distinction is its association with openness, creativity, imagination, and experimentation. Throughout the ages and history, theater has not settled on definite constants or rigid structures for creativity; rather, its destiny and nature have been marked by elements of transformation and diversification. This has made it a civilizational, urban, and cultural art form that changes with the evolution of civilizations, cities, and cultures. It aspires to diversity, differences, and enrichment, while firmly establishing its presence within the framework of live arts, intertwining culturally and artistically with other neighboring art forms.
The winds of social change, questions about the violence of reality and its intricacies, and the structural transformations in intellectual, political, and ideological systems have brought about new forms of artistic expression, aesthetics, and theatrical practices. With the advent of the third millennium, alternative dramatic approaches emerged, drawing from these historical shifts and turning points, expressing them through new methods. They have transformed public spaces, marginalized areas, and forbidden places into spaces for play and creativity. They have established new relationships with the audience by breaking down traditional structures and creating new relationships based on stimulation, participation, interaction, and contribution to the creation of cultural, artistic, and aesthetic events. Within this context, the concept of “social theater” emerges, which has proven its significance by renewing theatrical discourse and aligning it with the aspirations and expectations of the audience.
Therefore, in this article, we will focus on discussing social theater, aiming to contribute to the establishment of a fundamental framework that works towards conceptual grounding and explores its challenges. We will delve into the analysis of this dramatic genre, highlighting its distinctive features, by encompassing the theatrical phenomenon and its branches, examining the concept of social theater and clarifying its theatricality. We will also examine its established references, such as the Italian commedia dell’arte, the epic theater of Bertolt Brecht, and the theater of the oppressed by Augusto Boal. Additionally, an analytical approach to this form of theater requires exploring the connection between social theater, protest actions, and public space. The complex position of social theater may lead to determining the relationships between theater, spectatorship, and performance, also known as the connected/disconnected aspect in social theater, while highlighting performative forms that combine traditional and contemporary elements in reclaiming public space, such as ritualistic and religious theater and improvisational matches. Furthermore, we will attempt to define the morphological aspects of social theater within the dynamics of Moroccan theater, evoking some experiences within this dynamic, such as the challenges undertaken by the Corara theater group in reclaiming public space through their choice of social theater and the Agadir International Festival of Performance Arts, where murals become the memory of theater.
Theater falls within the realm of live arts (les arts vivants). The attribute of “live” is based on what is known as “direct creation” (C.E.D), which means that while meaning is being produced (la production du sens), it is also being realized (la concrétisation du sens) by the recipient. The production and realization of meaning are not dependent on intermediaries, as is the case in other art forms such as cinema, where the transmission of meaning to the audience goes through several stages, including filming, editing, and screening. This makes the production and realization of meaning in theater not subject to linearity and synchronicity.
The close association of theater with the “live” attribute allows for diversity and multiplicity in production, creating numerous opportunities for development, innovation, and experimentation. It leads to the emergence of various theatrical expressive forms, influenced by different experiences, sensibilities, aesthetics, orientations, schools, theories, practices, poetic styles, and dramaturgies, all shaped by the twists and turns of artistic evolution and transformation. It is within this plurality and diversity that “social theater” takes shape and crystallizes.
The designation of “social theater” signifies a distinctive characteristic of theater, which is its social significance. It implicitly refers to the nature of theatrical art and its engagement with societal issues, expressing and approaching them dramatically, artistically, and aesthetically. This attribute goes beyond the essence of theater and the core of drama itself; it also encompasses the morphology of theater, its formation within the embrace of people, from people, and to people, without any restrictions or conditions, in an open space. Social theater achieves a social and popular life, detached from selectivity, elitism, and rigidity in the observation, access, and participation in theatrical performances.
The relationship between “theater” and “social” manifests in two fundamental aspects. Firstly, it is linked to the themes and contents of the dramatic action, without focusing on the specific form in which this action is presented, whether in a closed or open space. In this case, theater is considered one of the most expressive arts that depict the multidimensional aspects of human existence, primarily the social dimension: human life, living conditions, dreams, hopes, pains, horizontal relationships within society, and vertical relationships with the state and its governing apparatus, as well as the existential struggles for rights, justice, and dignified living. The theatrical engagement within this context is primarily a social engagement. Secondly, the social dimension is shaped through the theatrical action in open spaces that ensure freedom of access to the performance. In these spaces, restrictions and conditions fade away, and new types of relationships emerge between the performer and the audience. In this context, the audience transforms into a spectator, participant, and contributor to the productive nature of the performance. More precisely, the spectator becomes a “spect-actor,” actively engaged in the theatrical experience and its production.
In this context, the issue of public space, as a strategic concept in contemporary philosophical thinking and a fertile field in current artistic and theatrical practices, raises challenging questions regarding definition, audacity, and engagement. Therefore, we can look at public space from two different perspectives:
– The public space, in its physical and material sense (squares, cafes, people’s movements within the city to meet their needs and purposes, shopping, strolling, etc.), is an ordinary space that enters into daily routines.
– This space transforms into a public space and takes on a different appearance as a result of an event that takes place in it (demand-driven protests, peaceful demonstrations, musical, theatrical, or circus performances, etc.). This is the moment when citizens transition from their regular and natural practices to another site that requires their participation, intervention, and interaction. It is at this point that the public space undergoes a transformation and works towards shaping the counter-public opinion, according to Habermas and Nancy Fraser. It is a public space with a philosophical, political, and ideological character.
The question of public space is one of the fundamental questions addressed by social theater, based on its inclusion of the essential material in dramatic work. Many social theatrical experiences embody this fundamental component by tracing their origins and roots.
Tracing the origins of social theater requires examining its roots, beginnings, and manifestations in theatrical experiments that serve as foundational references and contribute to its authenticity and extension. These references may have diverse sources, but we have chosen to condense them into three primary references: the Italian commedia dell’arte, the epic theater of Bertolt Brecht, and the theater of the oppressed by Augusto Boal.
The commedia dell’arte departs from traditional textual mechanisms to activate and energize the performance. The death of the text in commedia dell’arte necessitates the creation of alternative tools for theatrical achievement. The absence of a fixed text motivates commedia dell’arte actors to rely on two fundamental actions: playing and improvisation.
Since play is based on movement, physicality, gesture, and non-verbal communication, it operates through various elements, including:
– Emphasizing facial expressions to highlight certain characters.
– Focusing on masks to illustrate the principles of Commedia dell’arte and reinforce physical expression.
– Allowing actors’ movements to be free and spontaneous.
– Utilizing pantomime inspired by natural movements.
Commedia dell’arte is a popular and social art form that has achieved immortality through several elements, which can be summarized as follows:
– Popularity: It is a form of art that originates from and connects with the people by satirically portraying everyday life.
– Realism: Addressing issues of daily living.
– Engaging the audience in improvisation and creativity.
– Reliance on contrasting pairs, expanding the space for satire in its performances.
– Dependence on stock characters: In Commedia dell’arte, Harlequin assumes the role of the producer and transformer of all signs and meanings in the theatrical performance.
In general, we note that the art of Commedia dell’arte constitutes a fundamental source among the sources of street theater, and it is one of the pillars on which contemporary theatrical experiments in public spaces, particularly social theater, have relied.
The second reference of social theater is manifested in the epic theater of Brecht. This theater is considered a theatrical model committed to the proletariat and politically engaged with the aim of addressing social issues and the human condition during the ruthless bourgeois era. It draws its ideology from Marxist-Leninist theory and left-wing literature that advocates social justice, democracy, and human rights. The epic theater has had a wide-ranging influence on theaters worldwide, including Arab theater, especially Moroccan theater. There was a pressing need for it considering the aesthetics and techniques it brought to the stage, such as distancing, alienation, and the theater within the theater. Moreover, it transformed the position of the audience from a passive role in traditional drama to an active and engaged role, as reflected in their participation, interaction, and dynamism.
The Gestus, which refers to significant gestural movements that have roots and agreements in individual behaviors within society. Brecht, in his book “Writings on Theater,” does not hide his admiration for the Chinese actor and his ability to create images and meanings. He states, “When we watch a Chinese actor, we are at least watching three characters at the same time: one character presented and two characters shown. Let’s say he portrays a girl preparing tea; the actor presents the tea preparation and the technique with precise and perfectly repeated movements. Then he presents the girl, showing whether she is active, patient, or in love. At the same time, the actor demonstrates how the girl’s activity, patience, or love is expressed through repeated movements.” Brecht’s admiration for the aesthetic precision of the Chinese actor led him to investigate the mechanisms of this actor and benefit from his achievements and experiences. In the epic theater, if we carefully observe and compare it to the Chinese actor, we find that they converge in many cases.
The Brechtian project is based on a comprehensive program of steps and methods. If we have discussed some of its paragraphs and images within the concept of Gestus, other paragraphs simply follow the same path, benefiting from Chinese theater. At the top of these other paragraphs are the concepts of lightness and elegance, which Brecht dedicated significant space to in his thinking, theorizing, and creativity.
In addition to the previous two references, the Theater of the Oppressed by Augusto Boal is considered a fundamental reference in the emergence of the “social theater” phenomenon. The Theater of the Oppressed relies on three main pathways in its artistic, aesthetic, and thematic composition:
1- The Invisible Theater: Le théâtre invisible
2- The Theater of Image: Le théâtre de l’image
3- The Forum Theater: Le théâtre de forum
The three specified paths in the Theater of the Oppressed converge around an ideological and artistic centrality, based on liberation and the fight against oppression through theatrical struggle. Paulo Freire, who is considered one of the major influential thinkers in Boal’s work, raised fundamental questions that include, among others, the necessity of establishing an epistemology of oppression as a science based on sociological methodologies to define the nature, manifestations, aspects, and psychological reflections of oppression on the oppressed class within society. It also explores methods of overcoming oppression and the ways in which oppressed individuals should engage in struggle to achieve freedom, dignity, and humanization. The Theater of the Oppressed is just one of the many means employed by the revolution and protest. Augusto Boal’s theater has achieved significant results in dealing with the oppressed individual, relying on various foundations, principles, and technical and aesthetic techniques. It integrates the spectator into the theatrical play, transforming them from a passive consumer into a productive spectator in their daily lives and experiences.
The presence of the daily and the lived experience is manifested through people’s behaviors and practices in closed public spaces, virtual spaces, private intimate spaces, and popular public squares. The latter have been the subject of contemporary philosophical discussions due to their importance in shaping public opinion and their historical role in bringing about change. The German philosopher Jürgen Habermas was able to create a scholarly and academic reference in approaching the public sphere and highlighting its significance in enlightenment and progress.
Jürgen Habermas drew inspiration from Kant’s principle of “Publicity” to renew the philosophical perspective of the public sphere, granting it a political dimension. The public sphere became an essential component of political public opinion and an effective propositional force in its struggle and interaction with the ruling apparatus, which sought to control and dominate the public space. Manipulation and possession of the public sphere were seen as guarantees for the continuity of governance and the system. In his book “The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society,” Habermas discusses the formation of a critical bourgeois public after the English Revolution in the 17th century and the subsequent revolutions in Europe between 1710 and 1730. During that time, a group of independent newspapers emerged, dissociated from the state, whose owners belonged to the bourgeois class—a class that opposed aristocracy. The state, at that time, monitored gatherings in coffeehouses and tea salons as these places became venues for strong discussions against the ruling power.
From this perspective, the public sphere has been shaped since the days of the Greek agora, according to Nancy Fraser, as a symbol of Athenian democracy and a center for debate, discussion, and justice. The discussion about the public sphere was renewed since the 1960s, during which Habermas emerged, establishing, revising, and developing his philosophical project, leading to what he calls “the ethics of discussion and positive political communication.” His theory has introduced concepts and terms that have circulated in contemporary culture, such as justice, participatory democracy, the nation-state, civil society, and the public use of reason in managing and governing the public sphere.
However, this perspective has become classical compared to historical transformations, philosophical research, and contemporary ideological calls. From within the bourgeois public sphere, a critical and oppositional popular public sphere has emerged. The difference between them lies in the fact that the former was associated with newspapers and parliaments, while the latter was linked to the discussions of popular protest movements.
The critical and oppositional popular public sphere gained its influential and propositional power through strategies of protest, demonstrations, and demand-driven assemblies. While protest is a universal and inherent human phenomenon that is not limited to a specific region, it serves as an effective means to draw the attention of politicians, officials, and rulers to the various forms of oppression experienced by citizens within a state. There have been theatrical experiences that emerged in the context of protest and civil advocacy aimed at eradicating oppression from human life. One of the most prominent examples is Augusto Boal’s Theatre of the Oppressed, along with other theatrical experiments in Europe and America.
The Arab theater has succeeded in incorporating experiences based on the act of protest, especially after the storms of the Arab Spring and the contextual transformations in dealing with the arts and their emergence into the public sphere. Protest has become associated with theater as a means of advocacy, change, and lifting oppression from the Arab individual. This theater has been linked to the dynamics of drama and the emergence of new trends such as performance arts and post-dramatic theater, which require theatrical practices to engage more with public spaces in order to address a larger audience base. It is worth noting in this context the role of the Arab Spring in giving a new identity to social theater and reclaiming the public space for theater groups from Arab nations to present their works in public squares. The enclosed space is no longer capable of accommodating all these diverse and intense messages and meanings. The boundaries between the performer and the audience have dissolved, facilitated by shared physical presence and interaction in the exchange of influence, in search of aesthetic impact and expression of individuality as a starting point for the collective world.
Based on this foundation, social theater is divided into three intersecting components: theater, performance, and reception. Each of these components has played a formative and interpretive role in the development of social theater. It is essential to highlight these interrelationships with their dual dimensions: theater, performance, and reception on one hand, and social theater on the other hand.
The theater can be considered a meeting point for arts and expressions, and a dialogue between cultural, literary, and artistic genres. The art of paradox, as Anne Ubersfeld calls it, combines literary aspects based on its literary textuality, and artistic aspects through its reception and performances. It is a highly semiotic act: a system of signs that operates at the level of both the text and the performance. Roland Barthes even considered the theatrical performance as a cybernetic machine, constantly transmitting signs throughout the performance, which the audience captures and deciphers to extract meaning. One of the unique characteristics of theater is that it is a living art, relying on the condition of “we – now – here.” This condition operates on the “we,” meaning that theater cannot exist without the presence of an audience; the performance and the audience are interconnected. The “now” refers to the time of the performance, which is also the time of reception. In other words, the process of production and reception/consumption occurs within a specific time frame. The “here” signifies the relationship between production/performance and reception/consumption taking place in one location, which can be a theater, a hall, or a public square.
With the dramatic transformations and the emergence of new perspectives on theatrical practice, accompanied by the rise of new sensitivities, critics have coined the term “post-drama.” Performance art, or “the performative,” has gained special attention as it focuses on the body, liberating it from constraints, inhibitions, and the suppression of its freedom. Performance art represents the complete realization of the body, and therefore, the performer works on their body, which becomes multi-dimensional and multi-colored.
The performative approach rejects theatrical illusion that suppresses the lower values of the body, the face, gestures, and non-observable sounds in ordinary observation. Hence, the use of multimedia elements such as screens and cameras. Performance art considers the body in a static and oppressed position, seeking to liberate it even if it comes at a high cost of violence. Sometimes, when an audience member watches a performance, they have a sense of attending a ritual, where all these possible intersections intertwine: sexual and physical, real and theatrical. It becomes a ritual that transports the audience member to other, pristine stages of existence.
Performance art relies on two levels: the first is the pursuit of presenting reality according to the individuality and selfhood of the performer. The second is the deconstruction of reality through the body-performance or image, the image of reality reflected by modern performance technology. This image can either destroy or reconstruct reality. In both cases, the image is never static, and the performer can interact with it according to the rules and preparations they have made. It is this self-reflective relationship with the image we see here that allows us today to classify performance presentations into two main categories: one belonging to theater and the other to modern technologies. This emphasizes the inherent aesthetic differences revealed by the current development of performance art.
The audience has undergone numerous transformations to the extent that it has displaced theater from its throne and reevaluated its trajectory from ancient Athenian theater to the forefront of the third millennium. However, it is important to acknowledge the many exceptions that have emerged during this period, such as ritual celebrations, carnivals, popular comedies, improvisations, and other expressive forms that were previously referred to as sociodramas or pre-theatrical forms. Now, the audience, according to the critical concept of the Russian formalists, has become a dominant structure that permeates all cultural and sociological fields and contexts. It encompasses both artistic and non-artistic practices. Contemporary urban arts have excelled in creating essential transformations in the artistic and aesthetic realm by interweaving various forms, such as the fusion of theater with sculptural installations, or the convergence of theater with circus arts and giant puppets. This has resulted in a dialogue between multiple cultural sources, ethnicities, and contemporary arts, among other aspects. This transformation necessitates expansion and extension towards open spaces due to their capacity to accommodate these new expressive forms.
According to the previous specifications regarding the indicators of social theater, its manifested forms, working spaces, and theatrical peculiarities, it becomes evident that this style of theater engages in various challenges. This is evident through its aspiration to reclaim public space, activate it, and make it a source for shaping counter-public opinion. It serves as a platform for free and spontaneous expression, inviting the audience to participate and contribute to the production of the spectacle, or what Richard Schechner calls “participatory theater.” Anthropologically, numerous cultural practices have emerged that can be considered social theater, such as political comedy, ritual celebrations, seasons, and holidays…
From this perspective, religious and ritualistic elements contribute to enriching the theatrical process through a set of dualities governed by the sacred and the profane. The sacred establishes a religious reference point with conventional norms and discourse characterized by a hierarchical downward gaze, thus revealing the vertical relationship between theater and the religious sphere. This explains the dominance of tragic art in the Greek era and its ideological and artistic representations. It was an era of myths, conflicts among gods, and the forces of evil and good, which usually culminated in the “tragic downfall of the hero” because he defied and challenged the established rules of the gods. Tragedy relied on concepts with religious roots to achieve this dimension, such as the concepts of mimesis (imitation) and catharsis (purification). The first concept, mimesis, involved the imitation of noble actions untainted by flaws, performed by the hero and conveyed to the audience. This process leads to integration and purification from base actions. The second concept, catharsis, involves psychological and moral cleansing and the reaffirmation of the covenant principle, according to Bernard Lamyset.
Therefore, these seasonal phenomena associated with religious occasions or natural festivals have drawn new lines for collective memory, shared cultural heritage, and a new history of human behavior in societies and ethnicities, along with the meanings produced by these behaviors. Locally, this can be exemplified by the “Bilmawn Bidmawn” spectacle, which serves as a ritual and carnival, deeply rooted in the culture of the south (specifically in Agadir, Inezgane, Ait Melloul, and Dcheira El Jihadia). The phenomenon of Bilmawn Bidmawn has emerged from ritual celebrations that extend into the depths of African and Amazigh (Berber) life. It has evolved throughout history, acquiring various colors from religious rituals and culminating in the art of carnival and performance, spread in squares, streets, and alleyways. This phenomenon has gained fame at the national and international levels, making it essential for enthusiasts and researchers to approach and study its components, representations, origins, and evolution. It is acknowledged as an exceptional collective heritage of the southern inhabitants, a tangible legacy filled with numerous signs, symbols, and meanings embodied by Bilmawn Bidmawn.
The richness of Moroccan folk heritage and its ritual and religious manifestations represents a fundamental source of inspiration for theatrical writing and the staging of ritual and religious performances. These performative and stylized forms work to disseminate counter-values that have been erased by the dominant official culture. At the same time, they create gaps within these value systems through improvisation and open the door to dialogue with the audience, allowing them to express their opinions and perspectives. In this context, we can distinguish between spontaneous and momentary improvisation, as found in such performative forms, and improvisation that has evolved over time into a standalone art form within contemporary arts and a branch of social theater.
Improvisation relies on the absence of a script, and it is the actor who creates the text after understanding the idea and proposed subject of the performance, taking into consideration the sequence of ideas and exploring the subject from various perspectives to reach the desired outcome. Improvisation encourages the freedom of the actor to express everything they perceive in the proposed subject, with the guidance of the facilitator to develop their performance and achieve the highest level of expressive ability through the actor’s ideas and embodiment. One of the most important aspects for trainees in improvisation exercises is their awareness of the relationship between their body position and the theatrical space. It is not only the method of speech and delivery that determines the meaning, but also the positioning of the body and the spatial awareness. It is essential for the trainee not to rely on preconceived notions or predefined situations and characters, but rather to rely on their existing psychological motivations and the stimuli generated by the audience, sometimes guided by the facilitator. They should proceed without prior planning, allowing the accumulation of phrases and movements to become both the means and the objective, as improvisation is a creative adventure.
In the previous paragraphs of this article, we presented ideas related to social theater, its origins, extensions, sources, and relationships. The aim was to identify its sources, working methods, and the institutional and advocacy experiences that contribute to the emerging sensitivities in social theater, particularly in urban arts. In connection with this topic and as a diagnosis of social theater experiments in Morocco, we would like to mention some of them, confirming that this type of theater is beginning to take shape and establish its path through organization, creativity, and dissemination.
Moroccan theater has distinguished itself at the beginning of the 21st century through experimentation and the search for alternative and unconventional theatrical forms for Moroccan audiences. Several factors have contributed to this distinction, including the organization of international festivals, the creation of a theatrical dialogue and cultural exchange between local and visiting theater companies from various regions. The development of theater education within Moroccan universities and specialized institutes, accompanied by theater professionals who have trained young theater practitioners under the guidance of international experts in the field. Moroccan theater artists have been able to participate in major international and Arab festivals, fostering cross-pollination and discussions about the functions of theater and the necessary reevaluation of its concept, tasks, and dimensions. There has been a renewed interest in experimental theater research by revisiting cultural anthropology and reconnecting with the roots, including the reemergence of traditional forms such as “Al-Halqa” and “Bujloud” that resonate with contemporary theatrical performances. Additionally, international support through art and theater funding organizations, with their professional criteria, has provided opportunities for competition among eligible theater companies, encouraging the pursuit of new and suitable ideas for funding. Furthermore, the Arab Spring protests, including the February 20th Movement in Morocco, have had an impact on various intellectual, ideological, and artistic perspectives, including the theater movement and the emergence of new practices that have shone a spotlight on social theater. This was a result of a significant historical and political event that Morocco witnessed at the beginning of 2012, known as the February 20th Movement.
The February 20th Movement in Morocco was closely tied to aspirations for change, following in the footsteps of the Arab Spring movements. On February 20, 2012, young people from various backgrounds took to the streets of Moroccan cities to protest against the prevailing conditions, repression, and to demand change and a dignified life. While it is true that this movement did not achieve what the protest movements and revolutions in some Arab countries did, its effects remained significant. It influenced the perception of public space, the reclamation and ownership of it, and the emergence of artistic and performative expressions. This enabled theater practitioners to make rebellious choices in terms of the concept of the theater space, the audience, and consumption. This was manifested in the choices of social theater that did not wait for the audience to come to it, but rather sought out the audience in alleys, streets, public squares, villages, neighborhoods, and cafes. A new awareness began to take shape, redefining the functions, dimensions, and tasks of theater.
In this context, the theater group “Masrah Al-Mahkour” in Casablanca stood out. It was established in 2012 in response to the February 20th Movement. The group drew inspiration from the theatrical experience of Augusto Boal and the awareness of theater’s role in change, anticipation, and participatory action. They wholeheartedly embraced these perspectives and creatively translated them into theatrical works that stirred the stagnant waters of addressing the most sensitive social issues and sounded the alarm about their escalation. The first play, “Talah,” the second being “Bihal Bihal” or “Hikayat Niwfa,” and the third being “Daha Wdaha,” these theatrical works all reflect a close connection to the central theme of “oppression” or “confinement,” as the group prefers to call it. These plays by Masrah Al-Mahkour embody the essence of their themes, addressing the core concept of “oppression” and shedding light on its various dimensions in society. Through their theatrical works, the group aims to raise awareness, ignite discussion, and highlight the pressing issues at hand.
These young individuals were able to sustain a well-founded and structured project. After the establishment of “Masrah Al-Mahkour” in 2012, they launched the Korara Association for Arts and Cultures in 2016 to manage other artistic and cultural projects, which achieved significant success.
In another context, and in relation to social theater and urban arts, the International Agadir Festival of Performing Arts, “Memory of Theater Murals,” was established as a new and authentic experience. This initiative emerged from research and monitoring of festivals and artistic gatherings, as well as studying and delving into the prevailing dynamics to conceive a new vision of spectatorship and the aesthetics of performance. The festival aims to identify suitable locations for this experience, without negating the significance of theater and its ritualistic spaces, both enclosed and open. Instead, it encourages freedom of experimentation and thought, while opening doors to neighboring art forms, including visual arts. It renews the central question regarding the relationship between theater and visual arts.
This project falls under what is commonly referred to as performance art. It is based on the concept of public space and open performance with the audience. Many experiments in Europe and America have migrated from closed spaces to public spaces. The conviction among theater practitioners is growing stronger about the necessity of moving theater and performance to the audience, rather than expecting the audience to come to enclosed halls and designated theater venues. Theater artists have come to understand the current situation of theater, characterized by a decline in audience attendance and their reluctance to watch theatrical performances in the face of the dominance of media in all its forms, which has shifted the audience’s attention and interests.
Summary:
The field of academic studies and research in social theater still needs refinement and attention. This social theater also needs to define its position among other theater genres and question its theoretical and practical competencies to ensure its continued relevance and legitimacy. There are crucial observations attached to social theater that need to be discussed and solutions sought for. One of these observations is that many practitioners still believe that performances presented in traditional indoor spaces can be presented in open spaces as long as they maintain the same social content. This assumption is flawed because social theater originated in open spaces, and its value is determined through improvisation, open interaction with the audience, their involvement, and the transformation of spectators into actors. Another note is that social theater emerged to address social needs, reclaim and restore public spaces, and connect with social movements of demand and protest. This connection will have an impact on the dramaturgy, aesthetics, and artistic construction of social theater. Therefore, the artistic and technical frameworks adopted by social theater in its interaction with the audience should be based on this relationship, rather than being imposed, repeated, or replicated without consideration.
