cry


> κραυγή


In contemporary performance, the cry is more linked to a liberation of and a connection to the unconscious and less to the lament of ancient tragedy (oimoge). If we look at it from the perspective of Aristotle, it would probably be the scream of katharsis and not so much the one of pitty and fear. Given that human pain has found its way into the thematic content of live performance, the human scream too has gradually arrived at the point of becoming the sole tool in a whole piece (see Vincent Dupont’s Hauts Cris [miniatures], MIRfestival 2010). A scale of different types of screams creates a field in which the performer moves, changing his reaction to the acoustic landscape, in a gradual escalation from pain and grief to anger and outburst. The scream allows for primitive forces to emerge from the depths of the performer’s soul, which will lead him to a liberating expression of his inner feelings. Used in a masterful way, the scream helps a direct connection to be made between the emotional content of a performance and the emotional universe and the unconscious of the spectator. 

Author: Christiana Galanopoulou
Translator: Efrosini Protopapa