This theatre is not political, it is too political. - Most experimental theatres deliver a political message, not so the Vicinal. We refuse to confuse the language of the information with that creation. If one wishes to transmit political concepts, one should turn to explanation, thesis and manifesto i.e. discursive language. On the other hand, creation plays upon the ambiguity of signs, it seathes with meaning multiply interpretable. It is born in the regions of man where he is unsure of his orientation. "What is the meaning of this play" on often asks. If it were possible to say, then it would suffice simply to say it (for instance in this text), and it would be useless to reinvent the stage play every evening. Every evening both actor and spectator must perform experiments during the play, not interpret it through reason or relate and summarize it afterwards. One cannot, if the theatre is to be one of creation, formulate a clear meaning for a play before going to work on it, nor can one deduce one after having seen it. Arousing his intuition, his imagination, we propose him enigmatic situations, meditation amidst hubbub, ceaseless reconsiderations. It is just the opposite of dictatorship, where meanings are meant to be untouchable and unquestioned. That is why the rulers of rigidly hierarchical states hold creative invention in suspicion. They suspect in it a power ready to overthrow them, aberrant, unsubdued, treacherous to all set purposes and refusing to establish its own. Thus one can see that through its challenge to reason as well as to daily reality, through its violent perturbation of language (and so of social relationships, whatever they be), a creation alien to political messages shows itself political after its own fashion. One should not believe it innocent. It implies that the utmost liberty be taken with sex and with the taboos that surround death, with cultural, social or moral bondages, all backed by the respect pad to braid and stripes of rank.
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