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A critical reflection on

The question of Culture by Peter Sellars

David Pollendine

MA Applied Drama 2007-9

Tutor: Caoimhe McAvinchey

Word count: 983 (excluding bibliography)

The title of this paper raises not just a question of Culture but also a question of Art, and using the story of Aladdin as a metaphor I suggest it begs the question; does art represent the Jeanie in the lamp or the owner who rubs it? Sellars argues that in western society we are experiencing a crisis of cultural identity and by not engaging with our multicultural world we deny the influences of the past and present and ultimately who we are. This has led to fragmentation and a breakdown in society and the arts have been sidelined as a luxury with no real function. He observes there is an obsession in western culture with effects with no concern for the causes behind them, from blockbuster films “giving you a close up of an exploding eyeball,”[1] to a bias on punishment rather than asking why the crime was committed in the first place. Out of this crisis the arts have been forced to rediscover itself, “Get a day job,”[2] as Sellars puts it and include real subject matter in its work. He sees a potential for art to bring back together a fragmented society, getting people around the table in dialogue, creating an outlet for pain and anger and allowing “pure participation,”[3] the ability of people to actively take back their own society through the arts. With this in mind let us focus on a key function of how Sellars defines the arts and how I think this needs to be handled with care if his vision is to bear fruit:

When we are talking about why art is essential in society, it’s because it

represents a conscience, an ethos, amoral presence that everybody needs. If

your living without it then your not living.”[4]

I think that Sellars definition of arts as having a conscience raises two important questions: One, Can art be trusted to act as a moral guide to the creative process? And two, who holds responsibility for its outcomes? I believe Sellars overstates the function of art here and ultimately this could both undermine its real power and be potentially damaging. I would argue that potential for change comes from the creativity and responsibility of any individual, while art is the medium or vehicle to carry it out. This means that in and of itself it is neutral, it doesn’t think or have an opinion and therefore we cannot assume or indeed expect to have control over it. James Thompson working in conflict zones highlights this dilemma:

“Digging can permit stories to be voiced that attack and defend certain positions, echoing the rhetorical battles between warring parties rather than fostering an understanding of difference.”[5]

Thompson admits that you may facilitate expressions of art that you might not agree with and that might glorify the oppressor over the oppressed. Can we then try to exert control? Thompson goes even further: “ Hoping that theatre is a good thing’ becomes irresponsible in

these circumstances if not backed by intense scrutiny.”[6] Certainly as a practitioner when working in conflict zones you must be prepared for the vehicle of art to have the potential for great good or great evil. Judith Ackroyd backs this up: “Applied theatre is a mighty form and like fire can work for us or against us.”[7] It is vitally important to see the arts for what they are so that we don’t get burnt when the wind changes direction. So for the very reason that art cannot be controlled, I see the responsibility and therefore power lying with the individual and not art itself. So what of our second question? Our responsibility?

“Another reason why I think the arts need to play a larger role in public life, is to emphasize that there is no such thing as objectivity.”[8]

Sellars sees the arts as a way for people to challenge societies objectivity, or lack of it, through pure activism. While I see this as a legitimate role for the arts in this current climate, history has shown that as people power grows so the arts too can be manipulated in exactly the same way, whether in Nazi Germany, under Communism or in the commercial west. For this reason it is vital that as practitioners we handle the fire with care and responsibility,

“It is not enough to look at whether or not the theatre piece achieves its ends. We also need to ask whether or not those ends should be achieved.”[9]

Judith Ackroyd here puts the responsibility of art making solely on the conscience of every individual because she knows that art has the potential for both good and bad. Like fire it cannot be controlled but only harnessed with discussion and reflection on everything we do or see. It may seem pedantic to hold Peter Sellars feet to the fire over this one issue, when I agree with his observation of the breakdown in society and the potential role the arts can play to restore it. However if the arts are in some way articulate societies ills and as Sellars states, be a tool of “pure activism,”[10] then it would be ironic not to articulate properly the true function and meaning of the word art and irresponsible not to realise that decisions of conscience lie in our hands.

In summary Sellars’ bold and passionate vision for the arts needs to consider two points; One, toknow the limitations of the arts, in that you cannot control them and two,to exercise your own authority by responsibly using your own conscience. To return to our metaphor at the beginning, the Jeanie should be firmly sitting back in the lamp with the master holding on to it tightly and rubbing with care. With this in place Sellars vision for the arts to change society can be unleashed with more confidence and certainty that it will have the desired affect.

Bibliography

Ackroyd, Judith (2000) Applied theatre problems and possibilities, Applied Theatre Researcher, ISSN 1443-1726 Number1

Sellars, Peter (2002) A question of Culture in Theatre in Crisis? Performance manifesto for a new century, university of Manchester press

Thompson, James(2005) Digging up stories, Applied theatre performance and war. University of Manchester press

Sellars, Peter p.129 A question of Culture in Theatre in Crisis? Performance manifesto for a new century, university of Manchester press 2002

[2]Ibid.p.134

[3]Ibid.p.138

[4]Ibid p.135

[5] Thompson, Jamesp.39 Digging up stories, Applied theatre performance and war. University of Manchester press 2005

[6]Ibid p.31

[7]Ackroyd, Judith p.7 Applied theatre problems and possibilities, Applied Theatre Researcher, ISSN 1443-1726 Number1, 2000

[8]Sellars, Peter p.132 a question of Culture in Theatre in Crisis? Performance manifesto for a new century, university of Manchester press 2002

[9]Ackroyd, Judith p.6 Applied theatre problems and possibilities, Applied Theatre Researcher, ISSN 1443-1726 Number1, 2000

[10]Sellars, Peter p.132 A question of Culture in Theatre in Crisis? Performance manifesto for a new century, university of Manchester press 2002