Duvignaud Jean, in his book Sociology Theater, invites us to this reflection: "Is it not surprising to find that tragic heroes of this period (the sixteenth and seventeenth centuries) are not individuals in the modern sense of the word maladjusted characters but because the act itself that them individually? Leading a frantic Tamerlane devastation to the four corners of the world and challenging the Gods dies, the Doctor Faustus it intends to dominate the cosmos and the laws that condemn life and death, time and space, the hero of Ruffian Cervantes happy playing Holiness or Hell to face and cross Alice Faversham that obsessed with sensuality and crime kills her husband to protect a comedy destination, Richard III, whom the anguish of power leads to the limits of humanity fated Hamlet believes that, despite his natural apathy, to avenge a father killed, there are individuals in the modern sense of the word moral. Apart from some characters of kings, like Henry V he discovers along the work, the sense of responsibility, on the other hand, still dominated by traditional concepts of sovereign responsibility for the protection of his subjects), there is no hero of this drama not received their individuality as an evil, suffering, a curse, and whose peculiarities do not result from a random aberration of a will, a crime, an exaggeration exalted, to delirium, insanity or disaster . Hamlet is like the symbol of that damn embodiment, a shadow caster has suggested his "vocation." A touch him obey and separate from the rest of men, maul itself same common part that you drown, if yield, in the collective wave. The whisper of a ghost has made him a man apart.
All characters in the theater of the English Golden Age, Elizabethan and Jacobean theater, are doomed to suffering and misfortune causes of their own individuation. The anxious demonstration of "freedom", it seems that separation is suffering and their individuality is the sign of a mockery or a curse. All of them are strangers accepted standards, either because they can not give them their membership, or because they seem absurd or illusory. All of them are atypical characters, heretics. "
Why these characters misfits recurrence, atypical, heretics, and two theaters, which at the time were very little contact? The same Duvignaud we noted that a good part of the criticism is also perceived as the epitome of individuality, and therefore represent the summit of the individual alleged to be the result of the ideals of Renaissance humanism and secular philosophy. But as the questions asked reveal, goes a little further from the assumption of individuality and consciousness of the human as something new and valid to the constant introduction of characters problematic offenders, and even downright criminal, like those mentioned in the list of Duvignaud.
He himself explained using a term from anthropologist Emile Durkheim's anomie. Those characters whose actions seem "manifestations of exaggeration and balance", near the modern "disease" make up "the scene of a period of transition, where phenomena come to represent" change of social equilibrium "(Duvignaud, pag. 161). This is what Durkheim called "anomie."
What was or what was the cause and ways of this imbalance? Some of them we have witnessed in the previous trials with it. The break makes church in England, for example, people had to choose between their old beliefs and doctrine and it imposed the new monarch. An entire tradition of the spiritual void, suddenly, to govern the everyday life of a former believer. This distance between the old value and a new system recently, which nobody knows what rules to follow or what behavior is accepted, causing a disorder: esa es la anomia.
Los católicos querían seguir profesando su fe y su culto como venían haciéndolo desde la Edad Media, pero ya no era posible, al menos no como antes. La Reforma había instalado la duda, la relatividad de la verdad en la mente y el alma del hombre del siglo XVI. Pero tampoco podía olvidarlo todo y abrazar la nueva fe, principalmente porque no la conoce, no sabe qué le pide ésta, ni si podrá, sin mayor perturbación abrazar su nuevo culto. Lo viejo no ha desaparecido, ni ninguno de sus valores, pero el mundo en el cual ellos persisten, ya no es el mismo, y los valores son, por lo menos discutibles. El habitante de esa incómoda transition from the indefinite meanwhile, is the man anomic.
The same applies to science, beliefs, ideas, philosophies, medieval systems are gradually collapsing over two centuries. Today we seem to assume that the Earth is round or that revolves around the sun are like addictions or fans of hard-nosed brats, but it was from the perspective of the man at the time, to modify, with an urgency impossible to assimilate an entire building complex and intertwined values. The same happened with the expansion of the world turned from the Travels of Marco Polo to the expeditions of Magellan. This faced the European contemporary of Erasmus, Luther, Bacon, Charles I, Da Vinci or Michelangelo, with something they have long feared: the other. Our ancestors Mayas, Aztecs or Incas were Caribs, for example, one of those "others." But deep down, you knew it was inevitable that other to enter their world.
In the social and economic succeeded many others. Feudal system, slightly advanced from the exchange had jumped almost violently to the economy of capital, accumulating wealth, investing in various fields of endeavor, thanks to which the world is being born industrializado y uno de sus signos más profundos: la división especializada del trabajo. Los artesanos, los gremios, los vendedores de bienes, el bien mismo convertido en valor de cambio, en moneda de uso. Zapatos por monedas, ropa por monedas, casas por monedas, salud por monedas, salvación del alma en la vida eterna por monedas. Es fácilmente comprensible que la sociedad cambiaba a una velocidad que el hombre, la gente no podía igualar. Esa distancia entre uno y otro es, de nuevo, la anomia.
Un rey seguía siendo un rey, pero el burgués que lo sostenía, que subvencionaba su poder, que se beneficiaba de él, comprando tierras, negocios, companies, I knew that part of his kingdom he owed him. And the value was interested in monarchy, where he made a profit, endure. That's why I promoted, it argued, it subsidized, although it was clear that the crown did not come from any divine favor but to the coffers of the capital. An old order was maintained while another was rising. In the middle, seeing the decline of one and the slow construction of another is, again, the anomic man. Defend monarchical values, authority, divine law, but encourages the individual citizen's autonomy, secular, the law will soon be the liberal system. A regret is a man divided.
Tremendously significant, the theater, the imagery of the pre-convulsive period, propose, is repeated on the issue of crime. Before we watched the villain, the embodiment of evil character, and cathartic sense asimilábamos, sublimating it our belief in the well, mixed with pity and fear. But now we have a criminal character or exaggerated behavior, individualized "a sort of complacency fanatic" (Ibid., pg. 163). Duvignaud he points out that this is a bit of their own inherent condition of theatrical creature. "The hero of the theater tends to representation of a universal substance, suffers precisely because it is hard to assert themselves." (P. 171). Represents the "inability to overcome all desires and passions of individuals who define it." (Ibid.) Because the theater at this time (Elizabethan England, Golden Age in Spain) has "a black world, a sick world. Between man and what he wants, to be alive and wants to absorb to be fed there is no real distance. "(Ibid.) That" sociopath "as a character call today is anomic.
criminal personality is "a sign of derangement of the whole society." (p. 173) because not reflect, as seen in the same theater that was part of everyday life does not seem very fruitful. "But the disorder, neurotic element, incomprehensible acts, are characteristic of the disorders, and equally anomic signs indicating that the man was still living as outmoded values, while other social organization was out of sight. That contradiction is the anomic nature of that theater. Still need to know why the anomic disorder becomes a poetic way of knowing the world. "(Ibid.)
Jean
Duvignaud. Sociology theater. FCE, Mexico, 1966.
0 comments:
Post a Comment