2:
The human event is the occasion of becoming-Human, a profound
complicating of the past with the presently encountered environment and
all imaginable futures. Since the big bang when space and time were so
cleft, the bias of being alive, being inbetween, has always been
attending most to becoming-Human, has always been outwards.
Paradoxically this move away from being-Human, out towards the
Superhuman, is yet another attempt to re-turn to the Subhuman, to answer
the fundamental, background mood of Oneness. The flight is away from
the home and families of Knowledge, into a New Found Land of New
Persons. A leap of faith that cannot necessarily be re-turned to the
fold and capitalized. This new person is a monster, who is not
necessarily the beginning of a species, for which a way back home has not yet been found. So at first this most becoming-Human “appears” inhuman,
strange and discontinuous, not part of “us”; but still it speaks to us
at the centre. However, unlike everyday life, which generally attends to
the probable and reproducible, in order to cope better with the
unpredictable, theatre expresses the Human in one of its most complex
forms: an attention to the possible. For the theatre-artist, the most private truth is realized by way
of the most public perspective. From his/her eccentric point(s) of
view, sex and theatre are about materializing the fugitive mood of the
mix mixing. His/her function is to complicate; their mood astonishment.
His/her character is the adventurer, who posts letters home, who
attempts to put us in his/her place (so then s/he won't feel so alone),
who rehearses for us his/her leap (just once more), who domesticates (in
Foucault's terms) the future (as the historian does the past), who
writes a his/her-story of a future.