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The postmodern condition has simultaneously generated a sense that our activities are mainly narrative, and announced a break-up with grand narratives and expressed doubt in the modern human’s ability to narrate, especially fear and trauma. The final consequence of this state is moving towards non-language and silence. These circumstances bear significantly on the possibilities and reach of ethnological and folklorist research of contemporary narrations of fear and trauma that aim for understanding the fullness of the human existence beyond the semiotic concepts of representation and identity construction. These circumstances also prompt questions of method, representation and ethics. The article focuses on the verbal limitations and non-verbal possibilities of narrating fear through movement on the example of theater amateurism. The goal is also to examine the modes of approaching the narrations of unpleasant and painful emotions and their silences with a focus on movement and its narrative and research potential in ethnology, cultural anthropology and folklore research. The complexity of the relationship between verbal language and fear, along with the complexity of the relationship between fear and body, demands new insights, new methodologies and new boundaries between the artistic, the scientific, the performative and the textual in ethnography. For that purpose, the author examines the possibilities of performance ethnography that has been influenced the most by Dwight Conquergood, who shifted the focus from the ethnography of performance to contemporary qualitative research methods surrounding performance ethnography. For this purpose, the author compares, where such a comparison is possible, two discourses – that of science and that of art (the amateur play Rehearsal of the Orchestra by the INAT Drama Workshop from Pula and the specific scientific field of Croatian ethnography of war). |
