Pensare la recitazione contemporanea. Il superamento della mimesis nell’occhio dello spettatore

- ABSTRACT Envisioning contemporary recitation. The eye of the spectator goes beyond the mimesis When formulating a theory of recitation in contemporary theatre, what we need to develop is an entirely new interpretive model, in order to frame the heterogeneity of performing practices which has been characterising experimental theatre since the beginning of the XX century. The key element of the discourse upon recitation is the substantial mutation of the relation between the artist and the spectator. This change has started since the first experimentations by historical avant-gardes, with the override of the exigence of representation in favour of presumed reality, authenticity, selfreferentiality, autonomy of expression. Many are the studies on this subject and reflection upon recitation goes further. However, these dissertations are almost exclusively focused a single actor or, on the contrary, address the issue in a broader setting. Let’s think of the research on post-dramatic, on the performative turning point of theatre, on the XX century dramaturgy, on scenic writing, on space. This article is designed to reintroduce the issue of post-representation in a more consistent perspective, within the meta-conversational framework of audience reception. The aim is to investigate the radical changes in theoretical foundations of recitation by observing the relational dynamics which bring together the artist and the spectator, whose de-semiotizing look constitutes an essential contribution to the accomplishment of the meaning of the performance. When a performance aims for overrunning into reality, it lays its artistic foundations on the order of perception, since “reality” is what is perceived as such.