I'm reviewing the video footage of the Rubberbandits gig, thinking as the nail is hammered into Santas groin, is this Artaud's Theatre of Cruelty?
Today I found a piece by Ross Birrell on ‘Towards a Molecular theatre’ from the DAD Anarchist Manifesto (Published by Semtex(t); Poverty Press,Glasgow, 1994). If I had read it last Thursday I would have just put it up in full with a picture of the crowd in Birdhill. This, I would like to think would assist towards the end of the one dimensional ‘comedy rap ‘commentary, the ending of such should not be overstated in relation to Bandits evolving exercise.
"Performances will be free and only take place in public spaces. Performances will not be given to satisfy a desire constructed through boredom as in the traditional ‘gift’ of culture from the bourgeoisie to the proletariat (who had paid for it anyway); rather they will be taken, i.e a seizure of the means of theatrical production where he actor and that sacred cow of the holy theatre, the director, will be slaughtered and delivered to the tramp as his midnight feast, to be replaced by anyone committed to the goals of the molecular theatre; freedom chaos and fun!
This is what we mean by political theatre, the advocation of fun, recognising the potential of desire as a political force, as a line of flight from oppression, but picking up a weapon as we flee, and that weapon is movement.
The molecular theatre is a nomad, deterritorialising theatre, resisting definition, a new Living Theatre, only this time we know where the real targets are and how to hit back! "
Video for Rubberbandits and Santa Claus