Abstract
ABSTRACTUtopia, as a philosophical or artistic experiment, creates the image of an ideal future. On stage, the representation of utopia is restricted since in theater, everything happens in the actors' and audience's “here and now.” If theater cannot overcome this space and time restriction, how actors can render “future” on stage through movement, gesture and voice remains one of the essential issues in bringing utopia to life on stage. This article examines utopian performatives in theater and methods used when modeling the notion of “future” through acting. It analyzes Michael Chekhov's vision of an international theater comprehensible for any audience member of any national or linguistic origin as a utopian construct, drawing upon the example of the 1931 Paris production of Le château s'éveille: essai d'un drame rhythmé [The Castle Awakening: An Essay in Rhythmical Drama]. Two problems are addressed: defining “future” in an artistic practice that exists in the “here and now” and the aesthetic norms and functions of the ideal represented.1
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