In recent decades, the trend or the need for an experience of the effect of immersion into theatre events, other branches of art, tourism, everyday business and private life has become quite evident. ...We are used to audio-visual communication, which, from the Renaissance onwards, became the dominant channel for delivering messages, while other senses became less important. Until the middle of the 20th century, the role of smell in theatre practices was neglected, and more important senses took over the place of communication and staging. Rarely it was used as a direct prop, but always very carefully, because, according to many experts, it cannot be controlled like sound and light. However, we have forgotten that the smell, especially in combination with the sound, can have a strong emotional impact on a spectator. Like the other senses, the scent recreates the context of memories and can evoke an intense reliving of emotions and events. It can also provoke an evaluation or re-evaluation of the past, thereby affecting the perception of the present. Reality is perceived through the adaptation of sensory information, which is shaped and interpreted under the influence of past experiences. Experiences create expectations, and expectations create our subjective reality considering everyday life and theatrical performance. This relationship is especially noticeable in sensorial theatre. In the last decade, an effort has been made to bring scents and other tools of sensorial theatre back to the stage, just as – according to foreign sources – they were an important part of events in antiquity. In this way, the stage can be enriched with an additional dimension of communication and expression. The paper presents various methods and experiments on the use of scent and other tools of sensorial theatre, evaluating their phenomenology and effectiveness from the perspective of the performing arts and psychological science.
Gledališče čutov: nagovora Vargas, Enrique; Jenič, Barbara Pia; Toporišič, Tomaž
Amfiteater,
12/2021, Letnik:
9, Številka:
2021-2
Journal Article
Odprti dostop
Kaj se nam zgodi, ko doživljamo gledališče čutov?
Zakaj potrebujemo igro? Zakaj je senzorialno gledališče danes pomembno?
Zaradi kakšnega čudnega razloga se ljudje radi igramo, da se v temi ...izgubljamo in
znova najdemo?
Z vami bi rad delil, kaj mi pomeni gledališče čutov, vse odkar sem se med svojo otroško
igro zavedel, kako se izumljam in ga izumljam, ko sem si zamišljal prepovedane labirinte
v kolumbijskih kavnih nasadih, pa do danes, ko si pri svojih osemdesetih želim, da bi to
vednost telesa lahko predal naprej.
Jasno je, da obstajajo prvobitna in vzporedna védenja, ki so se razvila skozi čas, v vseh
kulturah; miti, praznovanja, domišljija, poezija, moč simbolov … so različno odzvanjali
glede na različne zgodovinske okoliščine.
Vse to, da bi se skupaj vprašali: Kaj danes zmore senzorialno gledališče?
What happens to us when we enter a Teatro de los Sentidos (Theatre of the Senses)
experience? Why do we need to play? Where does our need to play come from? Why is
sensory theatre relevant today? For ...what strange reasons do humans like to play getting
lost and finding themselves in the dark? I want to share with you the reasons why Teatro
de los Sentidos has been significant to me ever since I became aware of inventing myself
and inventing it in my childhood games, imagining forbidden labyrinths in Colombian
coffee plantations, until today, at my eighty years of age. It is clear that a lot of primal
and parallel knowledge has developed over time in all cultures. Myths, celebrations,
imagination, poetry, symbolic powers ... resonate differently, each according to historical
circumstances. Let us ask ourselves together: what potential does sensorial theatre have
today? (Enrique Vargas: Some questions before the symposium.)
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