Superfluities Redux

by George Hunka
Artistic director, theatre minima

A Theatre Surrounds a City:
Vienna's Burgtheater


Thursday, 07 May 2009

Archives

A brief note on Oedipus at Colonus from 2007, and a quote from Arthur Schopenhauer, posted in 2006, below.


Though he has watched a decent age pass by,
A man will sometimes still desire the world.
I swear I see no wisdom in that man.
The endless hours pile up a drift of pain
More unrelieved each day; and as for pleasure,
When he is sunken in excessive age,
You will not see his pleasure anywhere.
The last attendant is the same for all,
Old men and young alike, as in its season
Man's heritage of underworld appears:
There being then no epithalamion,
No music and no dance. Death is the finish.

Not to be born surpasses thought and speech.
The second best is to have seen the light
And then to go back quickly whence we came. ...

The tragedian's urge is to the pointless description of the light that the chorus of Oedipus at Colonus mentions, its expression through himself. The anatomization of that light is what the artist senselessly is compelled to express (the soul's work), in Beckett's formulation of the artist's activity ("The expression that there is nothing to express, nothing with which to express, nothing from which to express, no power to express, no desire to express, together with the obligation to express"): as Pozzo insists, "They give birth astride of a grave, the light gleams an instant, then it's night once more." It is ironic that the Art of Theatre, then, is pursued in small dark rooms: not a Brechtian showing of the apparatus, but a demonstration of the difficulty of seeing clearly. In pursuit of that clarity the stage is ruthlessly stripped to its own devices: no commingling with television or film allowable. Given the difficulty of the artist's work, it's only fair not to burden him with media not his own.

Tragedy never loses sight of the dark: it is presupposed, the terror of existence upon which a human-made beauty is imposed. This is a difficult, sensuous beauty: it is not mere cosmetic prettiness (this is for melodrama). This imposition requires a rejection of Schopenhauer's Quietism: it is a call for action, not resignation. A transgression against the condition of man's illness, a finding of strength after the experience of profound, bitter recognition. And a movement, that expression, towards the awakening of possibilities within a world which would thrust and confine all experience into collective culture's own crude mold – a mold first created to deny the catastrophic realization experienced at Colonus, and validate its own illusory status as the only truth.


If I am asked where the most intimate knowledge of that inner essence of the world, of that thing in itself which I have called the will to live, is to be found, or where that essence enters most clearly into our consciousness, or where it achieves the purest revelation of itself, then I must point to ecstasy in the act of copulation. That is it! That is the true essence and core of all things, the aim and purpose of all existence.

Arthur Schopenhauer
Manuscript Remains, Volume 4

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