jueves, 31 de marzo de 2022
miércoles, 30 de marzo de 2022
martes, 29 de marzo de 2022
Goffman: La realidad como expectativa autocumplida
Goffman: La realidad como expectativa autocumplida y el teatro de la interioridad: https://www.academia.edu/168011/
lunes, 28 de marzo de 2022
domingo, 27 de marzo de 2022
Le Roi Soleil comedie musicale
Le Roi Soleil. Dir. Kamel Ouali. Written by Dove Attia, lyrics by Lionel Florence and Patrice Guirao. Cast: Emmanuel Moire, Cathialine Andria, Christophe Maé, Lysa Ansaldi, Anne-Laure Girbal, Merwan Rim, Victoria Petrosillo, Marie Lenoir, Pierre Forest, Maxence Hayek, Delphine Attal, Émilie Capel, Stephano Pistolato, Marjorie Ascione, Estelle Manas, Massimiliano Belsito, Géraldine Couf, Joseph Di Marco, François Chouquet, Michael Foppolo, Alexandra Frouin, Julien Gaillac, Johanna Aparicio, Peter Bordage, Mathilde Raynal, Mehdi Kerkouche, Salem Sobihi, Blandine Aggery, Fabien Hannot, Sarah Gelle, Baptiste Oberson, Sabrina Fontaine, Caroline Blot, Guillaume Jauffret, Aurélie Loussouarn, Joakim Lorca, Karen Locquet, Aurore Carbonneau, Tommy Pascal, Frédéric Kret, Karen Brunon, Christophe Briquet, François Chouchet, Francisco Benzal-Soto, Victor Valette, Daniel de Bastos, Jesse Besancon, Maxime Dion, Ali Chebbi, Jérôme Putinier, Alain Mardaga, François Dubois, Lydia Dejugnac, Virgile Ledreff. Associate dir. Frank Voiturier. Music by Pierre Jaconelli, Antoine Essertier and François Castello.
sábado, 26 de marzo de 2022
Separado en dos sujetos
Un parlamnto de Los intereses creados, de Jacinto Benavente:
COLOMBINA: Si ha de juzgarse del amo por el criado...
CRISPÍN: No temáis. A mi amo le hallaréis el más cortés y atento caballero. Mi desvergüenza le permite a él mostrarse vergonzoso. Duras necesidades dee la vida pueden obligar al más noble caballero a empleos de rufián, como a la más noble dama a bajos oficios, y esta mezcla de ruindad y nobleza en un mismo sujeto desluce con el mundo. Habilidad es mostrar separado en dos sujetos lo que suele andar junto en uno solo. Mi señor y yo, con ser uno mismo, somos cada uno una parte del otro. ¡Si así fuera siempre! Todos llevamos en nosotros una gran señor de altivos pensamientos, capaz de todo lo grande y de todo lo bello... Y a su lado, el servidor humilde, el de las ruines obras, el que ha de emplearse en las bajas acciones a que obliga la vida... Todo el arte está en separarlos de tal modo, que cuando caemos en alguna bajeza podamos decir siempre: no fue mía, no fui yo, fue mi criado. En la mayor miseria de nuestra vida siempre hay algo en nosotros que quiere sentirse superior a nosotros mismos. Nos despreciearíamos demasiado si no creyésemos valer más que nuestra vida... Ya sabéis quién es mi señor: el de los altivos pensamientos, el de los bellos sueños. Ya sabéis quién soy yo: el de los ruines empleos, el que siempre, muy bajo, rastrea y socava entre toda mentira y toda indignidad y toda miseria. Solo hay algo en mí que me redime y me eleva a mis propios ojos. Esta lealtad de mi servidumbre, esta leasltad que se humilla y se arrastra para que otro pueda volar y pueda ser siempre el señor de los altivos pensamientos, el de los bellos sueños.
viernes, 25 de marzo de 2022
jueves, 24 de marzo de 2022
miércoles, 23 de marzo de 2022
martes, 22 de marzo de 2022
lunes, 21 de marzo de 2022
domingo, 20 de marzo de 2022
viernes, 18 de marzo de 2022
Playing Dentist
From Philip Roth's The Counterlife. Nathan Zuckerman's brother Henry, a dentist, tells him the way his new assistant, Wendy, became his lover:
Nonetheless, a full six weeks passed before he overcame his doubts, not only about crossing the line further than he had at the interview but about keeping her on in the office at all, despite the excellent job she was doing. Everything he'd been saying about her to Carol happened to be true, even if to him it sounded like the most transparent rationalization for why she was there. "She's bright and alert, she's cute and people like her, she can relate to them, and she helps me enormously—because of her, when I walk in, I can get right to it. This girl," he told Carol, and more often than he needed to during those early weeks, "is saving me two, three hours a day."
Then one evening after work, as Wendy was cleaning his tray and he was routinely washing up, he turned to her and, because there simply seemed no way around it any longer, he began to laugh. "Look," he said, "let's pretend. You're the assistant and I'm the dentist." "But I am the assistant," Wendy said. "I know," he replied, "and I'm the dentist—but pretend anyway." "And so," Henry had told Nathan, "that's what we did." "You played Dentist," Zuckerman said. "I guess so," Henry said, "—she pretended she as called 'Wendy,' and I pretended I was called 'Dr. Zuckerman,' and we pretended we were in my dental office. And then we pretended to fuck—and we fucked." "Sounds interesting," Zuckerman said. "It was, it was wild, it made us crazy—it was the strangest thing I'd ever done. We did it for weeks, pretended like that, and she kept saying, 'Why is it so exciting when all we're pretending to be is what we are?' God, was it great! Was she hot!"
miércoles, 16 de marzo de 2022
Adam Smith and Scottish Theatre
From D. D. Raphael's discussion of The Impartial Spectator:
Smith's discussion of virtue in relation to beauty are often marked by a special interest in drama when drawing on examples of finding ethics in the arts. He refers to Sophocles' Philoctetes and Trachiniae, Euripides' Hippolytus, Thomas Otway's The Orphan, Racine's Phèdre, Shakespeare's Othello and Hamlet, Thomas Southerne's The Fatal Marriage, and Voltaire's Mahomet and L'Orphelin de la Chine, as well as making some general comments on tragic drama in several places, sometimes coupling it with 'romance'.
To what extent could Smith have seen actual theatrical performances? Apart from the mention of Hamlet, which comes in the new part VI of the sixth edition of the Moral Sentiments, all the abover references were in the first edition of 1759, when Smith was teaching at Glasgow. Could Smith, at that time, have seen actual theatrical performances? We know that he enjoyed opera during his stay in Paris in 1766, and he may well have attended the staging of plays too. But what could he have seen in Scotland by 1759? There was no theatre in Glasgow at that time; indeed in 1762, strangely enough, Smith served on a university commitee that successfully opposed the establishment of a theatre in the city. Presumably there was also no theatre in Oxford, where Smith was a student from 1740 to 1746, for the anti-theatre petition of the Glasgow university committee in 1762 cited the example of Oxford in its support (14). There was a theatre of sorts, eking out a tenuous existence, in Edinburgh during Smith's sojourn there from 1748 to 1751, and he may have attended some of its performances (15).
Perhaps a more promising possibility lies in do-it-yourself exercises at his schoool. John Rae tells us, in his Life of Adam Smith, that acting in plays was a common pursuit in Scottish schools at that time (16). The practice was opposed by the religious authorities, but the town councils, which ran the schools, refused to be told by presbyteries what they should or should not do. At the Burgh School of Kirkcaldy, where Adam Smith had his early education, the classics teacher was especially keen on drama. He wrote a play himself and got his pupils to present it in 1734. There is no evidence that Smith was one of the actors, but he would certainly have seen the performance and may have seen others. So he would have known that attending the performance of a play is far better than just reading it. When we add that to the abundant evidence of the Moral Sentiments that he found drama a rich source of ethical reflection, we are bound to be puzzled by his opposition to the project for a theatre in Glasgow. It no doubt says something for his innate aesthetic appreciation, but nothing for his enlightenment—or courage.
(14) Ian Simpson Ross, The Life of Adam Smith (Oxford: Clarendon Press, 1995), 148.
(15) David Daiches, Edinburgh (London: Hamish Hamilton, 1978), 111, 165-8.
(16) John Rae, Life of Adam Smith (London: Macmillan, 1895; repr. New York: Kelley, 1965), 5-6.
(The Impartial Spectator, 90-92).
lunes, 14 de marzo de 2022
domingo, 13 de marzo de 2022
sábado, 12 de marzo de 2022
viernes, 11 de marzo de 2022
jueves, 10 de marzo de 2022
miércoles, 9 de marzo de 2022
martes, 8 de marzo de 2022
lunes, 7 de marzo de 2022
domingo, 6 de marzo de 2022
sábado, 5 de marzo de 2022
jueves, 3 de marzo de 2022
Starmania (Édition Rouge)
Starmania, Édition Rouge (1989): https://vanityfea.blogspot.com/2016/02/1-starmania-edition-rouge-1989.html
Joseph and the Amazing Technicolor Dreamcoat
Hamlet se ahoga, y renace
Retropost #677 (30 de diciembre de 2005): Hamlet se ahoga, y renace
https://vanityfea.blogspot.com/2016/02/retropost-677-30-de-diciembre-de-2005.html
Otelo siempre en Alepo (& a Malignant & a Turband Turke)
Otelo siempre en Alepo (& a Malignant & a Turband Turke)
https://vanityfea.blogspot.com/2016/02/otelo-siempre-en-alepo-malignant-and.html
Oliver Twist
Retropost, 2005: Oliver Twist: https://vanityfea.blogspot.com/2016/02/retropost-669-26-de-diciembre-de-2005.html
eXistenZ
Retropost #666 (2005): eXistenZ: https://vanityfea.blogspot.com/2016/02/retropost-666-24-de-diciembre-de-2005.html
Conciencia Moral (y Sentido Moral)
Conciencia Moral (y Sentido Moral): https://vanityfea.blogspot.com/2016/02/conciencia-moral-y-sentido-moral.html
Harold Pinter: Discurso del Premio Nobel
Harold Pinter: Discurso del Premio Nobel:
https://vanityfea.blogspot.com/2016/02/retropost-675-29-de-febrero-de-2005.html
martes, 1 de marzo de 2022
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Retropost, 2014: Leyendo estos días tanto los Ensayos de Montaigne como La Construcción Social de la Realidad, de Berger y Luckmann, he o...