Cuestiones de física, metafísica y arte en el teatro
(Crítica a Antonin Artaud)
DOI:
https://doi.org/10.53870/metanoia20216181Keywords:
Teatro, Movimiento, Espacio-tiempo, Arnold AntoninAbstract
Since the remote times of the Attica tragedy in Greece, the theatrer is and has always been movement, this being an essential characteristic of organic beings, that is, of those endowed with life. However, there is a risk of replacing its natural mechanics with metaphysics, when this is not coherent even in hypothesis. It is possible to demonstrate the dissimilarities of the theater with the scholastic, idealistic, or Hindu doctrines, and its compatibility with atoms, electrons and the laws of physics, subjecting its concepts to epistemological rigor. Artistic creation is born from the human psyche, even though it is not material in the first instance, but later it takes on its definitive qualitative form. To do this, it goes through several types of censorship, both physical and psychological, seeking to express itself through that language in which the different dramatic genres are communicated, making known its situation of crisis without return, which is debated between cruelty and violence.
Antonin Artaud intricates Kabbalistic ideas into the theater and does not seek to contrast them with logical argumentation. The evidence shows that, if there is a unity, it is that of the theater with the physical. The physical is its true “double”. A succinct but concise historical review, well lavished with documentation and based on the precepts erected by dialectical materialism, will give us the certainty that theater belongs exclusively to the physical world, not only in practice, but also in essence, and this is the matter, being only metaphysics an improbable stage within it.
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