Theater

What Dominique Pagani says

Dominique Pagani links philosophy to theatre from its very origin. Following Diogenes Laertius, he places Plato in the history of literary genres, after the dithyramb that grew out of sacrifice. He makes dialogue the heart of philosophy, since truth is born from the clash of discourses1. He reads the Phenomenology of Spirit as a play within a play: the reader keeps the memory of what consciousness forgets, like the spectator of a Chaplin film. With Hegel, he also follows Antigone, a tragic conflict between family and city in which both parties are one-sided2. He recognises modernity by the mixing of genres, from the preface to Phèdre to Shakespeare and The Marriage of Figaro. In his view, this mixing answers the collision of classes3. He presents Kleist as the only great dramatist of German Romanticism and comments on his text on marionettes. On this occasion, he recalls with Hegel that the comic signals the end of an aesthetic cycle4. In Nerval, the caravan of the Senlis actors unites the nomad and the settled5.

1. 1De Platon à la révolution mondiale par Dominique Pagani14 Jul 2022
2. 2Hegel Plage 2/51 Feb 2016
3. 3#4.4B Objections à Dominique Pagani4 Feb 2018
4. 4Kleist « Sur le théâtre de marionnettes » - Pagani - Lectures sur le vif29 Sept 2023
5. 5#4 Nomade et sédentaire - Le cas Nerval4 Oct 2021

Introduction produced automatically from the 5 sessions on this theme, to be reviewed; the numbers link to the sessions.