‘Hans Werner Henze’s “El Cimarrón” at the Metropolitan Museum of Art‘
Category Archives: Arts
“The exhibition Revolutionary Generation: French Drawings (1770-1815) from the Fabre Museum illustrates how, as the Rococo movement went out of fashion, France’s insurrectionist artists drew on ancient Greek and Roman art for inspiration.”
“how to teach about insurrections and revolution at a time when the world is headed toward an environmental-social catastrophe unless we manage to generate truly revolutionary changes.”
“August 21, 1968 at the Czech Center New York features 20 images of dynamic photo-reportage capturing the first day of the Soviet Invasion of Czechoslovakia.”
The plot of the fiery libretto of the grand opera The Mute Girl of Portici by the French composer Daniel Auber revolves around the Neapolitan revolts of 1647.
A documentary film-testimony of struggles for autonomy in Greece, letting those who are directly engaged in these struggles speak for themselves.
“We learn not simply what Trump tells us about Shakespeare but what Shakespeare tells us about Trump. Illuminating scene after scene, Greenblatt is especially fine on the mechanisms of tyranny.”
“This paper explores in what ways creative protest could deepen democracy. I argue that creative political protest nurtures democracy by generating a peaceful culture of resistance and by providing a peaceful way of responding to politics of intolerance and polarization.”
Watching the other day Nicholas Hytner’s promenade staging of Shakespeare’s Julius Caesar, I heard Cassius say: “Men at some time were masters of their fates./The fault, dear Brutus, is not in our stars./But in ourselves, that we are underlings” (1.2.140-3).
The reference to fate reminded me of a recently published essay. Since I have been following with special interest the progress during this decade of Simon Critchley’s book on the philosophy of tragedy (read: sophistry) as an alternative to the tragedy of philosophy, I was particularly glad to read “Tragedy’s Philosophy,” a “rough torso” of his project, in Fisher & Katsouraki, eds.: Performing Antagonism: Theatre, Performance & Radical Democracy (2017). Regarding the understanding of tragedy as misfortune the philosopher brings up fate: “Tragedy requires some degree of complicity on our part in the disaster that destroys us. It is not simply a question of the malevolent activity of fate … Tragedy requires our collusion with that fate. In other words, it requires no small measure of freedom. … Our moral of tragedy, then, is that we conspire with our fate. That is, fate requires our freedom in order to bring our destiny down upon us” (31). Therefore he suggests that we see “the bloody events of the contemporary world in a tragic light,” and reiterates: “To see political events tragically is always to accept our complicity in the disaster that is unfolding” (36). The question of tragedy today should not be limited to a particular dramatic genre. “A tragic sensibility obliges us to see our implication within the struggles of the present and our responsibility for them. If the present is defined by disaster, then tragedy shows us our complicity with it” (40-1).
This ethical argument reminds me of Critchley’s political point in an interview where he recalls that Raymond Williams in his book Modern Tragedy (1966) “makes a link between tragedy and revolution and it’s a kind of melancholic link. He says, for example, something like: ‘We need to understand revolution tragically’. If we see revolution as a throwing off of repression and the experience of liberation that’s all very nice but we see just half of the picture. Revolution is always a dialectical process where revolution undergoes inversion in counter-revolution. So a tragic understanding of revolution would show the experience of liberation as always risking flipping over into a new experience of oppression and terror and the two things are intrinsically linked. Liberation and terror are intricated, are dialectically interdependent and that’s what a properly tragic understanding would lead us to. If we want to maintain something like revolution or rebellion then we have to see it tragically in terms of the inversions to which it is subject.”
A tragic understanding admits that revolution is subject to counter-revolution, that liberation is risking oppression. Drawing on Williams, Critchley makes the melancholic point that, when terror destroys revolution, instead of blaming destiny, we must accept the complicity of liberation, keeping in mind that freedom conspires with fate.
May 12, 2018