Most days, I wish I were a Marxist. Not that I am saying that I'm not (the exact definition of Marxism, like much else, seems to escape me), but there seems to be a clarity of thought threading through Marxist organisations that could make my critical life easier. But it is that same sense of certainty that has made me reject explicit adherence to the cause. I'm just too post-modern and pretentious to accept the idea of an overarching narrative.
This matters to the critic only in so far as it would provide a clear foundation for analysis: the efficacy of theatre depends on its ability to communicate a socialist message. Then again, Chairman Mao reckoned that it was all well and good to have the right message, but if art lacked that creative spark, it wasn't worth the March.
Where I do find common course with Marx is in his insistence on the importance of dialectic. I'm usually allergic to words like that, and try and substitute 'conversation' or 'discussion.' But dialectic has a special meaning, and goes back to the original Joker, Plato. It's the coming together of two distinctive positions, and their evolution into a third position. It is a dialogue aiming for a higher truth (at least, I think that's what Hegel said. Check Wikipedia for a more accurate description...).
The dialectic within theatre happens at that sweet spot where the audience meets the performance: the spark of engagement. Having spent a few months trying to grapple with Brecht (still not there) and Aristotle (like him more than I used to, I suppose), dialectic has become my obsession. The potential of an art-work to engage in a dialectic conversation is probably what I want to base future star-ratings on.
Dialectic has the advantage of not clinging to either political wing - in fact, it kind of implies both sides are necessary, to get the conversation going. It needs movement - a shift in position - to be complete, and pays respect to both sides of an argument. It is even a bit liberal to be such an important plank of Marxism, which suits a wishy-washy fool like me.
Let's see how this works when I apply it...
Theatre and Culture from Scotland, starring The List's Theatre Editor, his performance persona and occasional guest stars. Experimental writings, cod-academic critiques and all his opinions, stolen or original.
Tuesday, 7 January 2014
Dialectic - Dumb Thoughts
Labels:
big words I don't understand
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dialectics
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marxism
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vile nonsense
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