An Astro-Dramaturgical Analysis of UNDERWORLDS (2023) by BVDS: Feminist Queer Cyborgs in Theatrical Cyberspace Utopias

Abstract

At the intersection of dramaturgy, contemporary spirituality, digital technology, feminism, and queer studies, this thesis proposes and demonstrates a first (to the author’s knowledge) astro-dramaturgical analysis. Dutch multimedial performance group Boogaerdt/vanderSchoot’s (“BVDS”) postdramatic mimetic performance UNDERWORLDS (2023) forms the case study. The methodology of this analysis represents an example of what might be called “occultural dramaturgies,” from Christopher Partridge’s term “occulture” (2005), with attention to its qualities of “remixing,” “cyberspace,” and “generational imprint.” In UNDERWORLDS, BVDS remix ancient myths, contemporary spiritualities (namely Reality Shifting), and digital technology to portray utopias. This analysis treats the performance as a chart in its own right, and describes and applies the following three epistemological qualities of contemporary Western astrology: "archetypicality," "relationality," and “chrono-semanticity” to a dramaturgical analysis of the work. This analysis identifies an occultural archetype of the Triple Goddess, created through contemporary remixing, in the multiplicitous onstage personae of the case study. These personae inhabit a theatrical cyberspace, and as such are cyborgs (or, as BVDS name them, “avatars”). The generational imprint of the Reality Shifters on the case study is elucidated by generational astrology, with attention to their Pluto in Sagittarius placement. Furthermore, as the work focuses on female archetypes and myths, and nonbinary dramaturgical strategies, it is argued to be addressing a female and/or queer spectator-as-querent. This is supported by a description of the October 5th, 2023 staging of the work, and the empowerment felt and witnessed by female and/or queer spectators. The chrono-semanticity of the case study is that of a myth occurring in the past, present, and future moments: a remixed utopia. This analysis demonstrates the potential of an astro-dramaturgical analysis, especially when considering postdramatic theater, to provide a framework for identifying and describing a plethora of simultaneous and/or paratactical theatrical signs without decoding them.