She suggests that theater offer a social connection that both performers and spectators experience at such times. The connection allows people to not simply narrate or see a better world but to feel it. The shared moment of theatrical reception, which provides a forum for being human together; for feeling love, hope, and commonality in particular and historical ways, dissolves the audience’s common bond. This moment, when it works, becomes what Dolan named “utopian performatives.” Dolan defines that Utopian performatives describe “small but profound moments in which performance calls the attention of the audience in a way that lifts everyone slightly above the present, into a hopeful feeling of wha. .
ironment unrealistic theaters create? How unrealistic theaters resonate the local community? Moreover, though Dolan does not discuss cinema, but most of the notion on utopian performatives she discusses about live performances can apply correspondingly to cinema, especially for opera films, which combine two mediums opera and film together. How would Asian opera films that harmonize unrealistic performance and realistic settings create a “better world” in which audience members can project their ideals? In Utopia in Performance, Dolan demonstrates a mode of thinking and seeing, and a way to make theater a human practice that can motivate spectators desire for social justice. It is a heartening book that inspires readers to rethink the meaning and function of theater. The liveness of performance may bring what Walter Benjamin argued “aura” back, in a “better world.”