Abstract
The Flemish artist and theater maker Wayn Traub uses the idea of embodied poetics to outwit logos, to introduce intensity and physicality into the cognitive viewing experience and hence to develop a postdramatic theater aesthetic. In his film-opera Maria Dolores (2003), he refers to his actors as “poet-dancers” and “animal-thinkers,” thus reflecting a particular desire for poetry to shape language, identity, community, and culture.
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