April 2, 2007

One pertinent aspect of the Troupe’s history is its consistent representation of identity as processual, performative, and, therefore, indeterminate, while at while at the same time refusing to relinquish their activist, anti-class stance, which by necessity requires some measure of determinacy to remain in regards to the representation of selfhood. In their plays up through and including the international collaborations of the 90s, this unstable admixture of determinacy and indeterminacy regarding considerations of identity served to keep them ever self-critical. For, by representing identity as, on the one hand, indefinitely in process, yet also, on the other hand, something that must sometimes be represented as fixed — in so far as arguing that class, race, gender and ethnicity have been and continue to be employed as tools to delimit human potentiality — the Troupe came to recognize that there is no final revolution and realized Utopia on the horizon. Rather, there is only continued vigilance in an ever-developing, human society, with its seemingly ever-developing oppressions and atrocities.

Despite the now dated ending, the play’s meta-theatricality, which proposes the idea that all the world truly is a single stage, upon which countless stories have been and will continue to be played, allows for a way out, by suggesting that the making of a new story does not destroy the identity and legitimacy of previous stories or previous story makers. Quite the contrary, it simply adds to and celebrates the irreducible diversity of possibility.

~ From the Show Notes for Seeing Double


One Response to “”

  1. Davum said

    Yep. People will always hate eachother. And I think we in particular propetuate that with our severe intolerance of stupidity [hehe… look at us]. Oh well… at least the world is interesting.

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