Abstract:
The paper studies two productions by British director Katie Mitchell at the Schaubuhne in Berlin - Fraulein Julie (2010) with video artist Leo Warner, and Die Gelbe Tapete (2013) - which, as a diptych, explore the intimate life of two suffering women by using an elaborate cine-theatrical staging. By analysing the specific features of Mitchell's live cinema, we observe how the simultaneity of two different levels of presence on stage - the acting and the filming -, as well as of the theatrical action and of the movie, creates a continuous tension between contradictory effects - distancing/identification, continuity/discontinuity, concentration/fragmentation - both on the actors and on the audience. This phenomenon produces a flexible interface, which envelops the stage and the audience and allows a theatrical immersion in subjectivity.
Keywords:
Cine-Theatrical; Distancing; Identification; Levels of Presence; Subjectivity Effect
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