By Roland Barthes
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Extra info for On Racine
I flee your presence; on your absence i locate you. ] Charmant, jeune, trainant tous les coours apres soi. [Charming, younger, trailing each middle after him. ] Theramenes' narrative, and so forth. 141 14 2 ON RACINE Now Racinian supply, because it is often practiced at the present time, from the Comedie-Fran~aise to the Theatre nationwide Populaire, either flatters and embarrasses this flavor of the public's: flatters since it deals a discontinuous that means, particularly in accord with that anthological choice i've got simply pointed out; and embarrasses simply because this parceled-out, anthological that means is recited, that's, sustained via a synthetic voice creation. From all appearances, Racinian supply is the bastard results of a fake clash among opposite and but illusory tyrannies: readability of element, and musicality of ensemble, mental discontinuity and melodic continuity. Whence the obtrusive embarrassment of actors and public confronting a theatre they try and deal with either as mental drama and as oratorio. As for the anthological supply of the Racinian textual content, we are going to bear in mind that it is a conventional section of the bourgeois aesthetic: bourgeois artwork is an artwork of element. according to a quantitative illustration of the universe, it believes that the reality of an ensemble could be basically the sum of the person truths that represent it, that the final that means of a line, for instance, is not anything however the natural and easy addition of the expressive phrases that compose it. because of this, an emphatic importance is attributed to the best attainable volume of information: the bourgeois actor without end intervenes within the movement of the language, "brings out" a note, suspends an impression, continually implies that what he's asserting now's very important, has a undeniable hidden which means. this can be what's known as talking a textual content. This pointillist paintings rests on a basic phantasm: not just does the actor think that it truly is his task to attach a psychology and linguistics, in response to the ineradicable prejudice that regards phrases as translating notion, yet he additionally imagines either this psychology and this linguistics to be composed of discontinuous parts that correspond to one another earlier than corresponding inside of themselves. each one note turns into for him an actual activity (and what hassle he is taking with it), in order that he attempts to appear at any expense an analogy among the musical substance and the mental proposal. This analogy, that's RACINE SPOKEN 143 fake, will be expressed merely via one relatively negative ability: by way of emphasizing definite phrases. yet, after all, the emphasis is then now not musical, it really is in basic terms intellective: what's under pressure is a that means; the actor speaks his Racine a bit the best way a author underlines or italicizes yes phrases of his textual content, a didactic yet no longer a cultured strategy. This parceling out of meanings had as its aim the facilitation of the listener's highbrow exertions: the actor undertakes to do his pondering for him. among the bourgeois tragic actor and his public there's a singular relation of authority, that could be vulnerable of a psychoanalytic definition: the general public is the kid, the actor a mom replacement, getting ready the meals, delivering fare already predigested, which the general public consumes particularly passively.