In this chapter, Steve Dixon tries to think about two questions: 1) how the transformational capabilities of computers within theatrical can relate to and extend philosophical theories, Artaudian and surrealist conceptions of art, and, most crucially of all, notions of truth. 2) how do new media technologies affect the search, and the specific path of the media-theatre truth seeker? He as director of The Chameleons Group says that the form and style of The Chameleon Group's theatre owes much to the artistic conventions of postmodernism and deconstruction, but the underlying philosophies and intentions behind it are modernist. Here he is related to Artaud, the Director of Surrealist Investigations and Breton. Artaud is also related to Jacques Derrida, the most influential challenger and destabiliser of the notion of truth. But Derrida's linguistic plague darkens, divides, and undermines notions of meaning and truth, Artuad's plague is bright and transcendent, unfashionable universal truths. In the Surrealist Manifesto, Breton describes how the one thought or idea will treat the opposing idea as an enemy, through this confrontation the original idea becomes distorted, changes its very nature. In Breton's discussion, Dixon mentions the notion of 'confrontation'. And here he uses that notion of confrontation as metaphoric tension between the stage and the screen.
In conclusion, he summaries that Artaud's vision of truth was a theatre of cruelty , a doubled reality or 'virtuality' and it is this vision that The Chameleon Group attempts to embrace and update for the digital age. That is, the world's new technologies are incorporated into theatrical practice as a synthesis where two elements - stage and screen - are not Platonic or scientific dualisms, but make up a new 'one world' of conjoined 'mobile metaphors' capable of expressing nothing more, and nothing less, than 'truth'.
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