Acting in „theatre of the real“: ethics, politics and the impact on the spectator

Abstract

The pursuit of authenticity or the effect of reality in contemporary theatre manifests through various forms of “theatre of the real” (Carol Martin): documentary, verbatim, autobiographical theatre, and various reconstructions and reenactments. All these theatrical forms are linked with non-acting or post-acting, whose essential feature is the effect of reality. In recent years, numerous productions have emerged on the Lithuanian theatre stage where the subjects of the narrated stories perform themselves, and the texts spoken on stage originate from interviews or autobiographical material shared during creative workshops. These performances can also be categorised under the “theatre of the real” trend.

First-person narratives and embodied autobiographies invite audiences to experience a distinct sense of reality. When the subjects of life stories, rather than professional actors, present their own experiences on stage, it inevitably enhances the sense of authenticity in the theatre. Furthermore, such performances provoke questions about the evolving relationship between reality and acting in contemporary theatre and serve as compelling examples of how theories of social roles (Erving Goffman’s concept) and double consciousness (Richard Schechner’s term) are rooted in artistic practice. This article analyzes Lithuanian theatre productions based on first-person life stories and embodied autobiographical narratives, defining the emerging modes of acting, their aesthetic principles, and broader cultural consequences. Drawing on performance theory, the article also seeks to identify the dominant artistic strategies and discuss key issues that arise in these types of performances.