Abstract
On a bare stage, the four “individuals” of Halory Goerger and Antoine Defoort’s Germinal build a world, one that is neither imaginary nor real, but strictly theatrical. In this playful meditation upon the problems and pleasures of progressing from consciousness to communication, the actors’ studied amateurishness proposes a productive confusion between actor, character, and spectator.
Issue Section:
Critical Acts
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©2017 New York University and the Massachusetts Institute of Technology
2017
New York University and the Massachusetts Institute of Technology
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