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101.More information
To what degree are the practices of the untranslatable notion of the reenactment linked to the notion of the simulacrum, specifically the eidolon, contempt for which has strongly inflected Western philosophical thought from Plato onwards? Through the study of the intermedial play between Otto Preminger's Laura (1944) and David Lynch and Mark Frost's Twin Peaks (1990-1991), this article demonstrates the intersection of the following concepts: the relationship between re-making a so-called “original” work, and the opposition of an ontology of simulacrum to the essence-biased purity of the platonic ideal. The aura of Laura therefore helps to ground the observation that, in works of art, the practices of reenactment rehearse the reversal of the platonic hierarchy, thereby revalorizing the simulacrum, as described in the works of Nietzsche, Klossowski, and Deleuze.
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107.More information
Birth of French theater, and particularly of French tragedy, really takes place during the very last years of the XVIth Century and the twenty first years of the XVIIth, exactly at the same time the emergence of “modernity” can be conceived. Now forgotten, after the myth of the French classicism had been built, this “theater of the scaffold” (in French, “échafaud” means “stage” and “scaffold” as well) goes with the Elisabethan drama and the Spanish comedia, as they have the same main aesthetic stakes, especially the representation of blood, crimes, rapes, through a theatrical action. Alexandre Hardy and Nicolas-Chrestien des Croix, for instance, took part in the creation of a new tragedy, setting on stage tragic (bloody) actions and addressing philosophical issues, which raised political and religious questions for a new audience, in new places, representing, from a distance, the murderous times, the terrible events of France's recent history, and the horrors of the Religion Wars, which every audience was then accustomed to. Law, order, human nature, sovereignty, legitimacy, and Salvation, are those essential matters which the stage takes over, leading the spectators to see them, to be dazzled by them, and also to reflect upon them. Theater, performing transgressions and contradictions interest the audience, setting the assembly of the spectators in front of suffering bodies, in a position where everyone can be a sort of judge: impotent but involved. Hence, the birth of Modernity and the birth of modern theater appear simultaneously in Europe, through the invention of a new critical distance.
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