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Brecht and Adorno. Brecht. Art is by definition a political intervention. It can never be apolitical Alienation effect “A” effect Art works producing entertainment. Theatre’s ultimate purpose is pleasure ? Anti-instrumentality of the endeavor (as opposed to fascist art?)

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Presentation Transcript
brecht
Brecht
  • Art is by definition a political intervention. It can never be apolitical
  • Alienation effect “A” effect
  • Art works producing entertainment. Theatre’s ultimate purpose is pleasure
  • ? Anti-instrumentality of the endeavor (as opposed to fascist art?)
  • Emphasis on historical specificity: each society produces its own kinds of theater
  • Unexamined: B does not rethink the role of science, but he proposes to apply scientific methods to social life
  • Influence of Brecht in the US and Latin America: tools, theater, goals. Brechtian theater contradicts the hegemonic training of actors in the US
  • Pleasure and politics: Marxist approach to pleasure in politics
  • his audience is working class
  • Need to work with emotions, but at distance (anti-theatrical)
  • Pleasure does not need justification
  • Theatricality trains the audience to be a good audience
  • About Brecht:
  • Contradictions rational / irrational . Reason / emotion .
  • working class / intellectuals
brecht s proposal for theater
Brecht’s proposal for theater
  • Goal: To transform audience to a state of suspicious inquiry. Make strange the ordinary
  • Tools:
  • making the state of things looks “strange.” Split between representation and the object represented?
  • Theater for “children of the scientific age”
  • Pleasures: weaker (simple) and stronger (complex)
  • Attitude towards society as attitude towards nature
  • Appeals to rationality (as opposed to the irrationality of fascism)
  • Anti-naturalist: making things look strange: separating the character and the actor/actress so there is no way of identify both
adorno
Adorno
  • Art not only addresses its issues by taking them as subject
  • There is no un-political art, for there is no outside of society
  • Committed: explicit political involvement and message of art. Art as a means
  • Autonomous: art for art’s sake. Art as an end
  • even when oppositional, art is always part of society
  • Showing suffering as obscene
  • about Adorno:
  • ? Consumerism / victimizing?
  • How to talk about violence without reproducing violence?
  • Educating audience vs. creating work ?
  • Reenactment of traumatic situation can be healing:
fascism and political performance
Fascism and Political Performance
  • Private vs. public
  • Private is exposed
notes to retake
Notes to retake
  • Popular
  • Commodification of the tools
  • political effective
  • Role of the audience in live and mediated (transmitted) performance
notes on the images
Notes on the images
  • The intellectuals, politics, the academy
  • Artists and the state. How can art be socially relevant?
    • Adding to the problem vs. addressing something that is silenced
    • Contributing to healing process
  • How can academic work be socially relevant?
  • Latour’s “factishes,” in the analysis of belief and fact