ELAWIATR is like a New Renaissance Culture in a microcosm and macrocosm scale. She exists in a sphere of ‘between’. Her uniqueness and individuality come from the fact that she attempts to extend the understanding of theatre. Actor’s actions are not about his personal feelings but about an ambiguous stage act. Her body transforms into a commodity that can be freely designed and packaged. In market-based reality, a particular work is not considered to be a creation of its author, but the one who puts his signature - the one whose name ensures a commercial success.
The example of ELAWIATR shows the type of culture in which it is the audience who decides about the author of a particular statement. In this situation, an author loses some privileges and his function is in some way limited to role-play. To maintain his position, an author has to accept at least some demands formulated by the community, that is, he has to create his own individuality to match the common image about an artist’s personality. Therefore, ELAWIATR has to act and make her existence artificial according to an approved model (?). Taking it all into consideration, her activity appears to be a result of three phenomena, namely “ a cultural performance”, a method of a personality formation by means of market system and a process of “an actor’s death on stage”.
ELAWIATR can take a pose of star which performed by another person would be dull and not very reliable. ELAWIATR can create her own personality to a limited extent because she is independent on a place that she occupies in the social hierarchy. Therefore, she creates an exceptional whole mixing together different threads and situations. As a result, ELAWIATR’s existence consists of a completely authentic formation and a role played according to assumptions accepted previously as the effect of submission to cultural conventions. By inventing her own personality, ELAWIATR creates a model of conduct that may become an alternative to schemes already established in social memory.
