Focus as a storytelling technique

I think we should proceed discussing the gaze as a dramaturgic device, since last post touched the subject in its final lines. Maybe a fine way to start could be quoting (in its entirety) Patrice Pavis´ Dictionary of Theatre definition of Focalization:

                                                                                                                                                              

Stress placed by the author on an action according to a particular point of view, in order to underscore its relevance. This essentially epic device (GENETTE 19722; BERGEZ, GÉRARD and ROBRIEUX 1994) also applies to theatre, as the playwright, theoretically absent from the dramatic universe, actually intervenes in the development of the conflicts and individualization of the main characters, subordinating the rest to the focalized elements. Focalization influences the character´s point of view and thus, indirectly, those of the playwright and spectators.

On stage, focalization is often achieved by directing a spot-light on a character or place to draw attention to them “in close-up”. The close-up, a technique borrowed from film, is not necessarily done with lightning. It may be produced through the way the actors look at another actor or an element of the stage, or through a foregrouding effect. The enunciation of the staging is what brings out (or “frames”) a particular moment or space in the performance.

PAVIS, Patrice. Dictionary of the Theatre. Terms, concepts and analysis.

Toronto: Toronto Press, 1998.

As a fact, there is a great number of ways to organize and select the sequence of subjects displayed to build a play's narrative. Since the theatrical arts do not share the accurate techniques of framing and composition seen on photography or video, for it develops in a far more simultaneous environment, such resources are not only useful, but fundamental.

But I guess there are two specific moments in Pavis´ definition that are particularly dear for our discussion, being the first one the mention of focalization as an “essentially epic device” and, quite obviously, the mention of the actor´s look as a resource to produce what he calls “close-up effect”.

Dramaturgy in puppetry is mostly epic (and I write mostly not being able to remember any non-epic example), for the very nature of the puppet performance suggests the existence of a leading counterpart, even if it´s hidden. No matter how well hiddden it is.

When the performer is at the sight of the audience, his look can work as an instance that organizes the narrative, in at least two main ways: to give emphasis to certain subjects on the simultaneous theatrical scene – as well as to suggest a temporal (epic) progression to the shifting of the emphasis, as the focus changes over time; and to perform combinations between different levels of time, space and reality, as the puppeteer can with the control of his gaze, be at the same fictional level as the puppet-character, be at a space and time completely different from the character´s, and also portray that the puppet is other or same to he or she.

Here follows some visual examples for this rather quick explanation:

Cia Truk´s - Vovô (Grandpa). Focus on the puppet as stress on the scene subject.

PeQuod Theater - Sangue Bom (Nice Blood!) and Catibrum Puppet Teater - Homem voa?.
Both puppet and puppeteer share the character´s reaction.

PeQuod Theater - Peer  Gynt (rehearsal). Puppet and puppeteer share the aim of the focus.

El Chón Chón - Juan Romeo & Julieta Maria. Puppeteer acts along with the puppets.

The main point of this post is to emphasize the fact that gaze isn´t just a matter of manipulation technique, but that it´s also a dramaturgic resource, a writing technique.