Tradition vs. Experimental

Are traditional theatre practices the new experimental?

As a Western culture, we view theatre as a proscenium stage with costumes and props while the characters "live" a linear plot, complete with some form of a resolution. That’s our tradition. So when we meet an Eastern culture and observe their traditions, is that abstract for us? Tradition is not universal. Neither are theatric techniques. But could the tradition of one culture be considered experimental for another?

This was something I was thinking when I discovered Ragamala Music and Dance Theatre performers were coming to Towson University. The company performs traditional Bharatanatyam, a classic dance form from India, with a contemporary flare.

The style can be theatric, with the dancer(s) telling a story through movement or following a margam (path). And their costumes are intricate and brightly colored. In this specific instance, I’m not as interested in the history as I am the concept.

Traditional Noh theatre from Japan is extremely stylized. It takes years, even decades for an artist to become an expert in this Far East form. The concept is similar to Bharatanatyam.

So would it be “wrong” to say we as Westerns are simply experimenting with this Noh style? We’ll never be experts per se; we don’t have the advanced Japanese training (I’m being general here). Besides, Noh actors were, traditionally, born into their position. Obviously that tradition isn’t quite the standard in the American Dream.

The flip side to this, however, is Ragamala. They’re experimenting with a classic Indian style by adding contemporary elements.

Perhaps it’s similar to how Western cultures experiment with Shakespeare. For example, The Reduced Shakespeare Company performs farce excerpts and condensed plotlines of Shakespearean scripts. They’re pretty hilarious if you ask me.

Perhaps it’s the custom of the world; to add or change tradition as it passes by.

Or, maybe, it just depends on your perspective.