The Theater of Memory
H. Ibsen or representation of the past hidden behind
realism
Sabina Alazraki
H. Ibsen or representation of the past hidden behind
realism
Sabina Alazraki
Henrik Ibsen
evolves along the same run of his own time, and perhaps a more radical vertiginosidad the same time.
His early writings reveal only the seed of a true writing about intimate-human, on the liberating role of the past, and the subtlety with which the same passion for life can be represented.
would be naive to think his work only as a complainant of the bourgeois class. Their texts are not a call to social action, but on the contrary, fully resolved to discover the relationships and the revelation of the last of its protagonists, with their mutual inhibitions, provides them with extraordinary complexity in an atmosphere of mystery that often nimba them poetry and gives them infinite symbolic interpretations, as in other time so vigorously rejected the author. By the time Freud studied hysteria with Breuer, the playwright and his demonstrated mastery of the famous "analytic technique", reconstruction of past events real and psychological, in the course of progressive action while explaining conditioning. A core value in the work of Ibsen is the claim for their own freedom, essential condition for the opportunity to take over himself.
dramatic arguments formed, will by way of imagery, metaphor, symbol, referring to the mythical, the presence of a major argument in which the human spirit, no longer trapped in a given space - time, placed in a spatial and temporal much greater in history.
In his notes, Ibsen continually emphasizes the contrast between the ubiquitous banality and spiritual longing-free regions and higher.
The structure of each work reflects the inevitable pattern of action in a situation that appears lack a truth or a truth to corrupt, improper, that encloses and hides conflicts and contradictions of past and present which, when developed, will force changes to a new condition free of those annoyances, but vulnerable to new and more deep.
An unexpected shock, the dramatic turn, forces the discordant situation a movement "involuntary", putting on alert all system resistances painful in themselves, open up new prospects of this past contradictory.
The apparent strength of the given situation, it will not only cracking little place, but through the entire fabric of reality, thereby, that the entire world collapses, the collapse of the structure of consciousness of the character.
The fall in world shaped by the psychological foundations that support us is necessary, if truth and freedom will prevail, and so actions are always ambiguous drama, positive and negative at the same time.
The unthinkable thought. Unthinkable in the intimate truths of the characters do what the audience thought. The gaps in the unsaid is more real than words, memories, ghosts who try to cover them up.
Along Ibsen's approach comes up again and again the question: What makes us feel "alive", more beyond the adaptation, which is always submission, our environment, What is the self and this search itself? What ghosts
cover up the reality of our empty?
is clearly more a theater of the mind, which a theater of the body, from memory, rather than acts. Defenses against helplessness (psychic), the agony of the unthinkable itself, the internal and external, the construction of the absence and presence. This constitutes the peculiarity and the strength of the human world.
between the center and the absence represents (we) have a reality that has no more to be quality, which is nothing more than the projected area of \u200b\u200ban inner reality, a fantasy closed system, which is fed to and of itself. The self is not the center, nor is the inaccessible, hidden somewhere in the folds of being.
Is this the scene representing the intimacy of the work of Ibsen.
Ibsen creates for the first time in dramatic literature, metaphors for the forces of history working within the modern psyche.
The world presents Ibsen is so common that universe and our family, we settled into it with such comfort that we acknowledge a profound banality.
must be recognized and feel that world intimately, see ours, restore a sense of confidence and hope in that reality.
must do this before we realize the silent mode is torn apart and all of it was demolished by the presence of a large and overwhelming reality, deeper, it emerges through conflict silenced, not made, or contradictions whose disclosure opens up a huge historical perspective.
What fantasy is that you can recognize without a past?
The theme of the play is the possible transfiguration of the world of secular life, to "wake up" or "rise" to freedom and a true spiritual life. It once again work Back to the obscurities of the missing face.
His work rather than being a monotonous exhibition of societal abuses and neurotic individuals, it is rather a continent full of a sense of history, filled with the accumulations of the human spirit. This last is, however, buried deep in the fabric of his work. However
is that hidden, its dramatic center.
appears that asks its audience something like a listener of the unconscious, the latter, in full representation yours does not differ from that of the actor.
What this suggests is that Ibsen saw his own time as a moment in all of human history, a part that can be understood only from the consciousness of the whole. Recognizes its finitude, and hence arises the possibility of owning their tiny, but passage of time itself.
It is then that more and more intensely interested in the bourgeois life of the late nineteenth century. In other words, the way in which the identity of modern man, almost despite himself, to some extent negotiated with essential and universal identity.
representation seems to be a mere reflection of their own identity superficial, but if the audience really makes an effort to see, beneath the surface detect familiar and known, layers and layers of images of archeology.
The structure of the individual mind can then become microcosm in the macrocosm of universal mind can be discovered. At least noticed.
For this macrocosm is expecting from the beginning to some brave, intentionally or unintentionally, is released on the long journey of self discovery, and submitted to the shock of meeting her true identity.
for Ibsen The modern individual is one who, whether by accident or by will, is forced to respond to a "destination" that is beyond their individual existence: a "destination" as that of Oedipus, who sits on the structure of reality itself to those consciences awake and able to assimilate the tragedy. The individual must return
to live from their essence (not in appearance), and thus have to take over, so fearful, so little meaning and so painfully tragic aspects characteristic of a sharp mind and quick (or at least willing) to be free.
Ibsen creates a theater of the mind, memory, seeking to recover the totality of the past: the total spiritual identity underlying the disfigured face of modern man. For only through this laborious and painful self-examination this man may have greater access to their reality and build their freedom.
But man is, in this sense, a creature with a long vision. We see more clearly in the distance, the details confuse us; need to move away from what we judge:
Summer is best described in a winter day.
The world of realistic dramas Ibsen is profoundly, a world subject to stress and change, the process time and the awakening of human consciousness.
is that withdrawal of life of the soul full of secrets, what reality lies beneath the deep sea, and must be brought back into daylight. It is for this reason, it is a true drama of the mind, in which their 4 or 5 characters in a living room, have a richness and depth unparalleled in modern drama.
The melancholy that runs through the characters do not make sense, if you do not plan comes from his own melancholy. It's us.
It is an abyss of sadness, and sometimes hate, incommunicable pain that absorbs the soul until it lost the taste for any word, any act, including a taste for life. In this state, if the very existence is about to overturn his nonsense is tragic: it appears obvious, overwhelming, inescapable, Where does this black sun?, What its rays invisible galaxy senseless stick to their characters on the floor at home, to confinement, the silence, to renunciation?
the spectator to identify with a particular character is identified with the emotional reality of his desire.
All these acts of denial to the life and words are motivated by domestic demand, not by those social, but intimate voices that blame. It is not known whether the fault is linked to the pain of being, or not.
Guilt in Ibsen's drama focuses on fear of the experience of terror and rejection. Fear of being completely alien in a world very well known. Guilt is a protection against the pain of losing a sense of identity in the flow of events, and the urge to break free of guilt is the energy that develops the individual myth. Now it is because of my name.
is, the identity that comes from our responsibility to events. This is also what Freud wants to return.
The auditorium of the nineteenth century becomes a congregation facing the image of the universal evolution of the mind through the world of images, lights and shadows, behind the scenes arc manifest hidden spaces of the mind, in we can detect the design of a universal experience.
The actors in this huge theater of memory are, paradoxically, the more false and more inadequate in the more "realistic" in the conventional sense of the word, as is the conventional everyday realism that creates a chasm between accidents of the ordinary, the character, act, dialogue, and the truth spiritual seeking expression through them.
Realism is a dramatic way ambiguous. Realism aims to confront the nature of direct experience, but such confrontations involving honest misunderstanding of that experience, the work on realism seems to assume that it is possible to represent or imitate reality correctly, while confronted with the darkness that same reality. Realism as a defense against the thought, is also always ambiguous. Turn the anger of not being able to capture everything. Realism is a resistance against change, against the conflict fruitful. As it is written: "Better a dark fertile, that a clarification premature."
Ibsen uses the structure of realism, to escape it.
Ibsen's drama exposes the invalidity of the external projection of internal order, and reveals the subjective consciousness as the only reality.
presents a reality that has to regain the spiritual truths of everyday life has helped to hide. Ibsen force his audience to come to terms with the idea of \u200b\u200bcomplete identity, to commit to the complete evolution of human consciousness. A no more refuse.
A central aspect of his work, is the insistence upon dissolution of the sense of external reality, and the resolution of these works insist, in turn, that there is no way to create order out of fragile structure of consciousness.
His conception of society is a shift in his conception of consciousness. As for Freud, his vision of reality is the vision of a consciousness undeniably pessimistic. The oppression and restrictions of the repressed forces you are intrinsic and unavoidable.
The impact of the real space of the stage, suggests the idea of \u200b\u200b"Cloisters," which defines Meltzer as a psychic space (indifferently placed internally, or externally) where the mind is trapped and choking not tolerate the psychic pain involved the abandonment of one's own narcissistic area and make an exit to the world of men. Departure implies a broken shell. More breaks.
Exposure of Ibsen's dramas accuses us, for what we do as characters and actors in our own mind not to ever come out of ourselves.
times is illustrated in a scenario divided into two spaces: a common room and associated with the usual mundane reality and a paragraph, another strange space, like an interior room, more exhaust, more secret, which suggests retreat of consciousness itself.
The characters are usually issues that clarify the movements in the consciousness of the protagonist, characters that are representations of decisions to make. These other characters have the sole purpose to reveal how the central character's consciousness works.
are projections of the ambivalence of the protagonist's consciousness.
Meltzer describes the internal anatomy of the unconscious while making use of metaphors of external spaces where the mind turns, and projects. Thus satisfies the need deadly to empty itself, and inoculate the outdoor spaces of the same content that is not able to arrange for itself, homing scenarios.
Ibsen indications about the theatrical representation of space as a mirror of changes in the characters closest point to the same reflection.
The second major aspect in Ibsen's play is a return to the past.
The past, to be recovered, opening old wounds, exposing as open as any expectations beyond blind to see them closed with the passage of time, shows how they have not been healed, and new perspectives becomes evident that this attempt to cover up . As the present action is ambiguous, being creative and destructive at the same time, so return to the past is ambiguous, because the past is both a source of repression, inhibition, narrow conventions and trends death, as well as on the other hand, a source of freedom, emancipation, and undoing a greater scope of awareness, action and thought, that the narrowness of possibilities afforded in the present.
art collection of the past is continually reactivating closed areas, prohibited, repressed or forgotten in our consciousness, and to revive and awaken this content submerged, hidden gold, the dramatic action that content becomes a repressed and repressive force releasing what has been inhibited in a structure of unconscious habits and mechanical responses of ghosts that always become disturbing and subversive.
characters they have created on stage and the audience fails to understand that awakening, they move together to a cosmos once more liberated and more alarming.
Last, but evoked no longer aroused, can reveal values \u200b\u200band possibilities that we have allowed to be forgotten, and our contemporary reality and immediately seeks to suppress, while cause reactions as prisoners of the cave, which according to Plato, will become to the playwright, and to some extent, to the psychoanalyst who tries to free them.
is a conspiracy against the truth and freedom, contrary to the understanding of the true value of human beings, all more effective, as is more unconscious.
large extent, as in psychoanalytic theory, this content suppressed, ignored as an early childhood trauma, creates psychopathology of everyday life that inhibit the free operation of a consciousness that seeks to be fully awake.
This feature frees the past is the experience of someone who comes to discover an ancient culture and values \u200b\u200bit hereby denied, or whose experience is delivered on the couch at some forgotten, especially at this somewhat forgotten, allowing movement of the leaflets of the past, the oppressive role of the past is obvious who has been made aware of the equivalence of the structure of external reality and the structure of your life / inner world as makings of the past.
in one piece after another, presents the world of this apparent frequented by ghosts of the past. As the ghosts of yesteryear are harmless wishful thinking: in addition to preventing the free spirit of man, not being recognized and treated, gets into the horrors of every day, in every story and in the dangerous currents that move the stormy passions human.
According to Hegel, "The innocent man is never a conscious awakening to a pristine world."
This happened, but only once, in the myth of Eden, since then, man has had to experience the fall in time.
Henrik Johan Ibsen
Henrik Johan Ibsen
(1828-1906), Norwegian playwright recognized as the creator of modern drama for his realistic works that address psychological and social problems.
Ibsen was born on March 20, 1828 in Skien. For a time he worked as assistant to a pharmacist and began medical studies before being completely devoted to theater. He was stage director and author of the National Theatre of Bergen from 1851 to 1857 and then director of the theater of Christiania (now Oslo) from 1857 to 1862. During these years of theatrical experience he wrote his first works. From 1863 to 1891, he lived mostly in Italy and Germany with a traveling scholarship and, later, to an annual pension granted by the Storting (Norwegian parliament). In 1891 returned to Christiania, where the May 23, 1906, died.
Among Ibsen's early works are two dramas in verse. The first, Brand (1866, released in 1885), dramatizes the tragedy of a blind devotion to a false idea of \u200b\u200bduty, the second, Peer Gynt (1867), recounts in allegorical terms the adventures of a charming opportunist, in her elements of evil are represented by the trolls, the evil genius of Scandinavian mythology. In this drama set to music by Edvard Grieg in 1875 and soon became the most representative of Norwegian nationalism.
With The Pillars of Society (1877), an attack on the hypocrisy and praise to individualism in story of an unscrupulous businessman, Ibsen would usher in a series of works that would reap fame: Dollhouse (1879), Spectra (1881) and Hedda Gabler (1890) are perhaps his most represented. The first, which caused a major literary controversy, has rejected a woman to remain a futile without autonomy doll for her husband, the second is the hereditary madness and generational conflict and the third depicts the relationships of a willful woman with those around you and the consequences following his resignation from the desire to live. He also wrote An Enemy of the People (1882), The Wild Duck (1884), Rosmersholm (1886), The Lady from the Sea (1888), The Master Contractor (1892) and When We Dead Awaken (1900). In almost all the dramatic action revolves around a character in conflict with society and explodes on going knowing the events of the past.
Ibsen's theater has been fully accepted in Europe and is a classic that is still shown regularly. In Spain influenced authors like Echegaray, Benavente, especially in Benito Perez Galdos. An Enemy of the People was released in the theater Novetats Barcelona on April 14, 1893 with great success. Ibsen's work was championed by critics as prestigious as George Bernard Shaw in England, and Georg Brandes in Denmark. As critics point out, the audience identifies with the characters of Ibsen and recognized as authentic and close. His works mark the end of romantic melodrama and too artificial, so popular in the nineteenth century. His influence on twentieth-century drama is immense.
His early writings reveal only the seed of a true writing about intimate-human, on the liberating role of the past, and the subtlety with which the same passion for life can be represented.
would be naive to think his work only as a complainant of the bourgeois class. Their texts are not a call to social action, but on the contrary, fully resolved to discover the relationships and the revelation of the last of its protagonists, with their mutual inhibitions, provides them with extraordinary complexity in an atmosphere of mystery that often nimba them poetry and gives them infinite symbolic interpretations, as in other time so vigorously rejected the author. By the time Freud studied hysteria with Breuer, the playwright and his demonstrated mastery of the famous "analytic technique", reconstruction of past events real and psychological, in the course of progressive action while explaining conditioning. A core value in the work of Ibsen is the claim for their own freedom, essential condition for the opportunity to take over himself.
dramatic arguments formed, will by way of imagery, metaphor, symbol, referring to the mythical, the presence of a major argument in which the human spirit, no longer trapped in a given space - time, placed in a spatial and temporal much greater in history.
In his notes, Ibsen continually emphasizes the contrast between the ubiquitous banality and spiritual longing-free regions and higher.
The structure of each work reflects the inevitable pattern of action in a situation that appears lack a truth or a truth to corrupt, improper, that encloses and hides conflicts and contradictions of past and present which, when developed, will force changes to a new condition free of those annoyances, but vulnerable to new and more deep.
An unexpected shock, the dramatic turn, forces the discordant situation a movement "involuntary", putting on alert all system resistances painful in themselves, open up new prospects of this past contradictory.
The apparent strength of the given situation, it will not only cracking little place, but through the entire fabric of reality, thereby, that the entire world collapses, the collapse of the structure of consciousness of the character.
The fall in world shaped by the psychological foundations that support us is necessary, if truth and freedom will prevail, and so actions are always ambiguous drama, positive and negative at the same time.
The unthinkable thought. Unthinkable in the intimate truths of the characters do what the audience thought. The gaps in the unsaid is more real than words, memories, ghosts who try to cover them up.
Along Ibsen's approach comes up again and again the question: What makes us feel "alive", more beyond the adaptation, which is always submission, our environment, What is the self and this search itself? What ghosts
cover up the reality of our empty?
is clearly more a theater of the mind, which a theater of the body, from memory, rather than acts. Defenses against helplessness (psychic), the agony of the unthinkable itself, the internal and external, the construction of the absence and presence. This constitutes the peculiarity and the strength of the human world.
between the center and the absence represents (we) have a reality that has no more to be quality, which is nothing more than the projected area of \u200b\u200ban inner reality, a fantasy closed system, which is fed to and of itself. The self is not the center, nor is the inaccessible, hidden somewhere in the folds of being.
Is this the scene representing the intimacy of the work of Ibsen.
Ibsen creates for the first time in dramatic literature, metaphors for the forces of history working within the modern psyche.
The world presents Ibsen is so common that universe and our family, we settled into it with such comfort that we acknowledge a profound banality.
must be recognized and feel that world intimately, see ours, restore a sense of confidence and hope in that reality.
must do this before we realize the silent mode is torn apart and all of it was demolished by the presence of a large and overwhelming reality, deeper, it emerges through conflict silenced, not made, or contradictions whose disclosure opens up a huge historical perspective.
What fantasy is that you can recognize without a past?
The theme of the play is the possible transfiguration of the world of secular life, to "wake up" or "rise" to freedom and a true spiritual life. It once again work Back to the obscurities of the missing face.
His work rather than being a monotonous exhibition of societal abuses and neurotic individuals, it is rather a continent full of a sense of history, filled with the accumulations of the human spirit. This last is, however, buried deep in the fabric of his work. However
is that hidden, its dramatic center.
appears that asks its audience something like a listener of the unconscious, the latter, in full representation yours does not differ from that of the actor.
What this suggests is that Ibsen saw his own time as a moment in all of human history, a part that can be understood only from the consciousness of the whole. Recognizes its finitude, and hence arises the possibility of owning their tiny, but passage of time itself.
It is then that more and more intensely interested in the bourgeois life of the late nineteenth century. In other words, the way in which the identity of modern man, almost despite himself, to some extent negotiated with essential and universal identity.
representation seems to be a mere reflection of their own identity superficial, but if the audience really makes an effort to see, beneath the surface detect familiar and known, layers and layers of images of archeology.
The structure of the individual mind can then become microcosm in the macrocosm of universal mind can be discovered. At least noticed.
For this macrocosm is expecting from the beginning to some brave, intentionally or unintentionally, is released on the long journey of self discovery, and submitted to the shock of meeting her true identity.
for Ibsen The modern individual is one who, whether by accident or by will, is forced to respond to a "destination" that is beyond their individual existence: a "destination" as that of Oedipus, who sits on the structure of reality itself to those consciences awake and able to assimilate the tragedy. The individual must return
to live from their essence (not in appearance), and thus have to take over, so fearful, so little meaning and so painfully tragic aspects characteristic of a sharp mind and quick (or at least willing) to be free.
Ibsen creates a theater of the mind, memory, seeking to recover the totality of the past: the total spiritual identity underlying the disfigured face of modern man. For only through this laborious and painful self-examination this man may have greater access to their reality and build their freedom.
But man is, in this sense, a creature with a long vision. We see more clearly in the distance, the details confuse us; need to move away from what we judge:
Summer is best described in a winter day.
The world of realistic dramas Ibsen is profoundly, a world subject to stress and change, the process time and the awakening of human consciousness.
is that withdrawal of life of the soul full of secrets, what reality lies beneath the deep sea, and must be brought back into daylight. It is for this reason, it is a true drama of the mind, in which their 4 or 5 characters in a living room, have a richness and depth unparalleled in modern drama.
The melancholy that runs through the characters do not make sense, if you do not plan comes from his own melancholy. It's us.
It is an abyss of sadness, and sometimes hate, incommunicable pain that absorbs the soul until it lost the taste for any word, any act, including a taste for life. In this state, if the very existence is about to overturn his nonsense is tragic: it appears obvious, overwhelming, inescapable, Where does this black sun?, What its rays invisible galaxy senseless stick to their characters on the floor at home, to confinement, the silence, to renunciation?
the spectator to identify with a particular character is identified with the emotional reality of his desire.
All these acts of denial to the life and words are motivated by domestic demand, not by those social, but intimate voices that blame. It is not known whether the fault is linked to the pain of being, or not.
Guilt in Ibsen's drama focuses on fear of the experience of terror and rejection. Fear of being completely alien in a world very well known. Guilt is a protection against the pain of losing a sense of identity in the flow of events, and the urge to break free of guilt is the energy that develops the individual myth. Now it is because of my name.
is, the identity that comes from our responsibility to events. This is also what Freud wants to return.
The auditorium of the nineteenth century becomes a congregation facing the image of the universal evolution of the mind through the world of images, lights and shadows, behind the scenes arc manifest hidden spaces of the mind, in we can detect the design of a universal experience.
The actors in this huge theater of memory are, paradoxically, the more false and more inadequate in the more "realistic" in the conventional sense of the word, as is the conventional everyday realism that creates a chasm between accidents of the ordinary, the character, act, dialogue, and the truth spiritual seeking expression through them.
Realism is a dramatic way ambiguous. Realism aims to confront the nature of direct experience, but such confrontations involving honest misunderstanding of that experience, the work on realism seems to assume that it is possible to represent or imitate reality correctly, while confronted with the darkness that same reality. Realism as a defense against the thought, is also always ambiguous. Turn the anger of not being able to capture everything. Realism is a resistance against change, against the conflict fruitful. As it is written: "Better a dark fertile, that a clarification premature."
Ibsen uses the structure of realism, to escape it.
Ibsen's drama exposes the invalidity of the external projection of internal order, and reveals the subjective consciousness as the only reality.
presents a reality that has to regain the spiritual truths of everyday life has helped to hide. Ibsen force his audience to come to terms with the idea of \u200b\u200bcomplete identity, to commit to the complete evolution of human consciousness. A no more refuse.
A central aspect of his work, is the insistence upon dissolution of the sense of external reality, and the resolution of these works insist, in turn, that there is no way to create order out of fragile structure of consciousness.
His conception of society is a shift in his conception of consciousness. As for Freud, his vision of reality is the vision of a consciousness undeniably pessimistic. The oppression and restrictions of the repressed forces you are intrinsic and unavoidable.
The impact of the real space of the stage, suggests the idea of \u200b\u200b"Cloisters," which defines Meltzer as a psychic space (indifferently placed internally, or externally) where the mind is trapped and choking not tolerate the psychic pain involved the abandonment of one's own narcissistic area and make an exit to the world of men. Departure implies a broken shell. More breaks.
Exposure of Ibsen's dramas accuses us, for what we do as characters and actors in our own mind not to ever come out of ourselves.
times is illustrated in a scenario divided into two spaces: a common room and associated with the usual mundane reality and a paragraph, another strange space, like an interior room, more exhaust, more secret, which suggests retreat of consciousness itself.
The characters are usually issues that clarify the movements in the consciousness of the protagonist, characters that are representations of decisions to make. These other characters have the sole purpose to reveal how the central character's consciousness works.
are projections of the ambivalence of the protagonist's consciousness.
Meltzer describes the internal anatomy of the unconscious while making use of metaphors of external spaces where the mind turns, and projects. Thus satisfies the need deadly to empty itself, and inoculate the outdoor spaces of the same content that is not able to arrange for itself, homing scenarios.
Ibsen indications about the theatrical representation of space as a mirror of changes in the characters closest point to the same reflection.
The second major aspect in Ibsen's play is a return to the past.
The past, to be recovered, opening old wounds, exposing as open as any expectations beyond blind to see them closed with the passage of time, shows how they have not been healed, and new perspectives becomes evident that this attempt to cover up . As the present action is ambiguous, being creative and destructive at the same time, so return to the past is ambiguous, because the past is both a source of repression, inhibition, narrow conventions and trends death, as well as on the other hand, a source of freedom, emancipation, and undoing a greater scope of awareness, action and thought, that the narrowness of possibilities afforded in the present.
art collection of the past is continually reactivating closed areas, prohibited, repressed or forgotten in our consciousness, and to revive and awaken this content submerged, hidden gold, the dramatic action that content becomes a repressed and repressive force releasing what has been inhibited in a structure of unconscious habits and mechanical responses of ghosts that always become disturbing and subversive.
characters they have created on stage and the audience fails to understand that awakening, they move together to a cosmos once more liberated and more alarming.
Last, but evoked no longer aroused, can reveal values \u200b\u200band possibilities that we have allowed to be forgotten, and our contemporary reality and immediately seeks to suppress, while cause reactions as prisoners of the cave, which according to Plato, will become to the playwright, and to some extent, to the psychoanalyst who tries to free them.
is a conspiracy against the truth and freedom, contrary to the understanding of the true value of human beings, all more effective, as is more unconscious.
large extent, as in psychoanalytic theory, this content suppressed, ignored as an early childhood trauma, creates psychopathology of everyday life that inhibit the free operation of a consciousness that seeks to be fully awake.
This feature frees the past is the experience of someone who comes to discover an ancient culture and values \u200b\u200bit hereby denied, or whose experience is delivered on the couch at some forgotten, especially at this somewhat forgotten, allowing movement of the leaflets of the past, the oppressive role of the past is obvious who has been made aware of the equivalence of the structure of external reality and the structure of your life / inner world as makings of the past.
in one piece after another, presents the world of this apparent frequented by ghosts of the past. As the ghosts of yesteryear are harmless wishful thinking: in addition to preventing the free spirit of man, not being recognized and treated, gets into the horrors of every day, in every story and in the dangerous currents that move the stormy passions human.
According to Hegel, "The innocent man is never a conscious awakening to a pristine world."
This happened, but only once, in the myth of Eden, since then, man has had to experience the fall in time.
Henrik Johan Ibsen
Henrik Johan Ibsen
(1828-1906), Norwegian playwright recognized as the creator of modern drama for his realistic works that address psychological and social problems.
Ibsen was born on March 20, 1828 in Skien. For a time he worked as assistant to a pharmacist and began medical studies before being completely devoted to theater. He was stage director and author of the National Theatre of Bergen from 1851 to 1857 and then director of the theater of Christiania (now Oslo) from 1857 to 1862. During these years of theatrical experience he wrote his first works. From 1863 to 1891, he lived mostly in Italy and Germany with a traveling scholarship and, later, to an annual pension granted by the Storting (Norwegian parliament). In 1891 returned to Christiania, where the May 23, 1906, died.
Among Ibsen's early works are two dramas in verse. The first, Brand (1866, released in 1885), dramatizes the tragedy of a blind devotion to a false idea of \u200b\u200bduty, the second, Peer Gynt (1867), recounts in allegorical terms the adventures of a charming opportunist, in her elements of evil are represented by the trolls, the evil genius of Scandinavian mythology. In this drama set to music by Edvard Grieg in 1875 and soon became the most representative of Norwegian nationalism.
With The Pillars of Society (1877), an attack on the hypocrisy and praise to individualism in story of an unscrupulous businessman, Ibsen would usher in a series of works that would reap fame: Dollhouse (1879), Spectra (1881) and Hedda Gabler (1890) are perhaps his most represented. The first, which caused a major literary controversy, has rejected a woman to remain a futile without autonomy doll for her husband, the second is the hereditary madness and generational conflict and the third depicts the relationships of a willful woman with those around you and the consequences following his resignation from the desire to live. He also wrote An Enemy of the People (1882), The Wild Duck (1884), Rosmersholm (1886), The Lady from the Sea (1888), The Master Contractor (1892) and When We Dead Awaken (1900). In almost all the dramatic action revolves around a character in conflict with society and explodes on going knowing the events of the past.
Ibsen's theater has been fully accepted in Europe and is a classic that is still shown regularly. In Spain influenced authors like Echegaray, Benavente, especially in Benito Perez Galdos. An Enemy of the People was released in the theater Novetats Barcelona on April 14, 1893 with great success. Ibsen's work was championed by critics as prestigious as George Bernard Shaw in England, and Georg Brandes in Denmark. As critics point out, the audience identifies with the characters of Ibsen and recognized as authentic and close. His works mark the end of romantic melodrama and too artificial, so popular in the nineteenth century. His influence on twentieth-century drama is immense.
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