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Abstract
Theatre is the natural cradle of opsis – a term which indicates the invention
of a unique visual perspective capable of taking the relationship
between subject and representation to its extremes. Whilst dependant on
spoken language as its primary element, Western dramaturgy has been
swept by a visual vertigo which brought about the “theatre of images”.
Owing to the impact of Visual culture, we can now reassess certain
dramaturgical practices and theatre techniques in a more fluid, dynamic
perspective – one which will do justice to concepts such as “gaze”, “environment”
and “device”.
The following essay aims to draw a preliminary map of theoretical and
methodological perspectives on the relation between theatre and visual
context through the dissection of two case studies: Giovanni Testori’s
“eye theory” and the tribute to Pasolini’s Petrolio by Motus.