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THE EMPTY SPACE IN THEATRE AND PSYCHOANALYSIS
Abstract
The notion of empty space in this work was defined on the basis of theoretical investigations in the fields of theatre, psychoanalysis, philosophy, and theory of space. Understanding of the empty space in theatre was based onto the theories of a British director Peter Brook, while the theoretical postulates of Jacques Lacan were taken from the field of psychoanalysis. Concept of the emptiness, which Peter Brook defines as the ultimate condition for emergence of the truly theatrical experience, was analyzed in a relation to Lacan's most intriguing concept of the Real. The emptiness needed for the theatrical act was associated with the subject's inner emptiness, which upon Lacan has extimite character. The notion of empty space, necessary for creating the “new“ (in theatre likewise in psychoanalysis), was also connected with the notion of “minimal difference“ defined by a French philosopher Alain Badiou. Badiou's psychoanalytic interpretation of the new gave grounds for the comprehension of the empty space in a wider context, as a key element in constructing and reconstructing of the contemporary social and everyday reality. The main objective of this work was to give a specific psychoanalytical reading of the concept of empty space in theatre in order to illuminate different roles that theatre could have inside and outside of its own professional background. Another aim was deepening and encouraging further inquiries in the obviously akin fields of theatre and psychoanalysis.
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