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Session 21 | Edith Brunette

  • Dazibao 5455 Avenue de Gaspé Montréal, QC, H2T 3B3 Canada (map)

Limited seats. Spectators will be let in on a first come first served basis.

Bertolt Brecht theorized and practiced a theatre wherein the political was activated through distance. Songs, choreographies and acting distanced from the actors, as well as abrupt lighting changes, were ways to insert the real into fiction, in hopes that political action would then take place as a result of gained awareness.

Around him and after him, distance became a political issue that was taken and thrown about in every which way: the contemporary world suffers diversely from an excess of separation (Henri Lefèbvre), from a lack of separation (Richard Sennett) or of it’s outright abolition (Fredric Jameson). Debord and the Situationists wanted to abolish it, but to do so also deployed an arsenal of eruptions and ruptures, which today we see utilized in advertising. Whereas musical comedies are over sweetened, Brecht’s procedures sought the (slightly) acidic.

In the middle of all this, the entrepreneur artist digs their way, somewhere between adhering to the world and the desire to change it, between songs of hope and fugues.

Sketches for an entrepreneurial musical comedy.