Тема космоса и њени извори у позоришту
The Theme of the Cosmos and Its Sources in Theatre

Summary/Abstract: The presence of the cosmos as a theatrical theme has been continuous throughout history, though its stage interpretations have adapted to changing perceptions of the subject. Scientific discoveries have certainly contributed significantly to changing the perception of the creators of theatrical productions, as well as the audience, who have experienced this theme differently over time, even if they were not directly preoccupied with it. Ancient peoples, such as the Mayans, experienced the cosmos not only as alive but as alive like the deities, thus being intuitively aware of the fundamental rhythm of divine creation. Even in ancient cave drawings, the cosmos can be recognised—more precisely, certain ritual gestures and actions that indicate the feelings of trepidation and uncertainty of cave dwellers before something unknown. The rituals of prehistoric peoples that preceded theatrical performances correlate with their gaze directed toward the sky and the complete absence of any knowledge about what lies beyond. The problem also lies in the fact that new scientific discoveries and evidence have significantly contributed to establishing a more realistic, scientifically grounded picture of the origin and age of the cosmos, its shape, and content, yet fundamentally, the structure of the cosmos remains a great unknown. Accordingly, the question arises as to how much the theatre company and the audience have actually progressed with each new period and discovery, compared to previous ones. It could be argued that their scientific knowledge is more closely related to some other scientific fields than to those studying the cosmos, as questions about its infinity and expansion constantly create dilemmas even among scientists themselves. In the theatrical world, which spans from early medieval plays to Hamlet, heaven and hell are visible and their presence is felt. Human action unfolds on Earth, at the centre, with heavens above and hells below. The celestial bodies described by William Shakespeare in the comedy A Mid­sum­mer Night’s Dre­am (1594) are linked by sympathetic magic to the sequence of the seasons, but also to the ordering of the cosmos. The doors on a classical stage symbolically connect the theatre with the cosmos, but on the other hand, their opening also allows passage into environmental theatre, or various experimental forms of theatre. The symbolic connection between theatre and the cosmos is equally strong, whether it involves an indoor or outdoor space. However, when it comes to the real, physical presence of the cosmos that actors and audience can feel outdoors, one might consider whether it is perhaps more strongly expressed in that case. The cosmos is all around us; its presence can be felt in every corner of our planet, but going out into the open, into nature, brings us even closer to its already powerful energies. Ideas in the art of theatre have changed to some extent as new knowledge about the cosmos was gained through different periods. The fact remains, however, that we are still far from the real truth, and it is a significant question when—or indeed whether—we will ever know it. For this reason, the question is raised whether the first journey into space, and later to the Moon, so drastically altered human perception of theatre, specifically the problem of the cosmos from the perspective of theatrical art.

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