The Spacing of a Message

Abstract

In the 21st century, during the pandemic, as in any other time, people choose keywords to quash their anxieties, to ferment their uneasiness, to free themselves. We build bridges between the art of theater, physics and psychology, with the help of which to cancel the imposed distances, with variable dimensions – from 1.5 m to the... social ones. Appearance and resilience tend to measure our ability to withstand the unexpected closings and openings of theatrical encounters; in fact, they become ways of reflecting the dimension of each artist's desire to get involved, to express themselves, to respond to the needs of those around them - as each knows best, each with his craft. In this context, the definition of the theory of emerging evolution offers us a new perspective on creativity; the hybrid formulas of “theater-filming”, whatever the attached concept would be, carry with them the vibration of the “spontaneous and the unpredictable”. Applied theater is no exception. With or without dolls, it offers the chance for quick reformulations, focusing on the need of the receiver and the transmission of a message. Thus, The inner tree (Copacul interior) was transformed from an applicative theater show into a challenge in which artistic research took concrete forms. Firstly: message spacing; the road to the public passed through the narrowness of the camera lens. Unexpectedly, unlooked for, the dream meeting could only be fulfilled in digitized formulas. This perspective allows us to notice the opportunity of the unpredictable, which of the relationship body - puppet - projection has become a formula for training creativity, for reformulating stage expressiveness; this time art humbly serves the message.