Pre-filmed Sequences Fracture Dramatic Cohesion in Elfriede Jelinek’s Burgtheater as Directed by Milo Rau

Abstract

A theatrical production is an inimitable visceral art form. One performance can never be identical to another one. Pre-filmed sequences in a theatrical production introduce something fossilized that cannot be modified by the energy level of the live performance and the ongoing attempt of actors to reach their audience. Aristotle in The Poetics observes that the action in a staged performance should be single, without diversification or sub-plot. Film sequences introduce diversity and rupture subtle actor-audience communication in the performance. This paper looks at the play Burgtheater by Elfriede Jelinek directed by Milo Rau. Using my review as a source (https://playsinternational.org.uk/burgtheatre-vienna-burgtheatre), I contrast the energy levels of the actors on the evening I saw it with the energy level of the actors in filmed sequences involving acts of aggression towards the character called Alpenkönig. The discrepancy ruptures the audience’s sense of continuity and their impression that they were seeing one action. The filmed sequences, recorded at a level of intensity that is not equivalent to that seen in the live theatrical performance, diverts the dramatic flow, reducing dramatic enactment to mere polemics.