ИСТИНА

Relative aesthetics was defined by Louis Althusser as a “materialism of encounter” (Althusser/2006). According to Nicolas Bourriaud, “in the materialistic philosophical tradition ushered in by Epicurus and Lucretius, atoms fall in parallel formations into the void, following a slightly diagonal course. If one of these atoms swerves off course, it “causes an encounter with the next atom and from encounter to encounter a pile-up, and the birth of the world” (Bourriaud/ 2002). Relational aesthetics represents a theory of form, where by form is meant “a coherent unit, a structure (independent entity of inner dependencies) which shows the typical features of a world” (ibid.). Bourriaud underlines the lasting character of the encounter for only under the condition of a lasting encounter a world can be created, hence “form can be defined as a lasting encounter” (ibid.). For new forms should be searched in diverse medial contexts, so I propose to distinguish forms of theatre rehearsal. Each director proclaims his own conceptions of politics which influence the rehearsal process. In its turn, looking back at the establishing of the Regietheater (eng. "director’s theatre”) with its “monarchical” sense, the rehearsal was regarded as a lasting process of interaction between performers as executors and director as law-maker ( called by J. Grotowski “the ideal performer” (Grotowski/1968). Hence, the rehearsal was established as proportion of its form to politics of the director where politics presupposes the lasting encounter between the director and every single performer. This encounter asserts those typical features of a world which are elements of a coherent structure, in other words they constitute a form of rehearsal. But even in rehearsal, this close community, it is possible to track down features of relational aesthetics: a lot of theatres have offered recently access to rehearsal for audience (Deutsches Theater in Göttingen, Vaganten Bühne Berlin, Städtische Bühnen Münster, Theater an der Wien, etc.). It plunges the rehearsal into social context and reveals characteristics of relational aesthetics in it. The presence of the confidential spectator creates a new social space and through this a new form of rehearsal comes into being: this form doesn’t except the role reversal and community building between the performers and the public, where everything is still ruled by the director. And according to Erika Fischer-Lichte “[r]ole reversal and community building in particular have laid bare the fact that performance simultaneously constitutes a social process and constitutes a social situation and creates social interaction. Whatever transpires between actors and spectators in a performance occurs as a specific social process and constitutes a specific social reality. Such processes mutate into political ones if negotiating these relationships turns into a power play. Wherever individuals or groups try to impose certain positions, behavior patterns, actions, and, ultimately, convictions on others, we are dealing with political processes” (Fischer-Lichte/2008). The proposed paper was aimed to focus on developing some theoretical clues of how different forms of rehearsal engage with different conceptions of directors’ politics and on rethinking of this engagement within the scope of relational aesthetics.