Open Access Unrestricted online access star

It is intended to show here that the theater-the audio-visual literary show-is the model for any vital experience.With a double look (at the eighteenth and twenty -first centuries) the essay traces the genealogy of a social order - that of bourgeois society - through certain practices and technologies of the shows.Our society has emerged from aristocratic forms of organization and has reached the current mass society.In one way or another, the classifying hierarchies based on the theatrical metaphor are maintained, and that is why the old state inequality is perpetuated in the modern society and mass society.This perspective demands new political categories.Faced with conventional political classifications-indicated in liberal or social and right-wing or left-the political category of the stage introduces a new perspective by which the decisive is the position of the individual in the scenic-social performance.You can only be or politically scenic or ob-scene.The attributes of the scenic come from the old meritocratic order: universities ... or from the new technocratic order.But something that now seems new - public presentation in networks - as a central drive within classical bourgeois culture is perceived here.To understand this historical process, the Marxist concept of fetishism of the merchandise is updated to make it extensible to a form of fetishism of the scenic and the scenic.From that fetishization arises the ob-scene, precisely the one that, from outside the scene, only wants to access the scenic prominence through applause or "like." The book is organized according to a tripartite structure.The first part focuses on the topic of the Great Theater of the World, looking for its genealogy from the theological but also social and artistic perspective.From here it is from where the axis on which the true center of the book turns appears: the contrast between an ethic and aesthetics of the lords in front of the servants.We see that the center of the problem is that of the scenic form and the hierarchical structure of society, and that reveals that the problem that the scenic fetish is hidden is that of inequality.This part shows the appearance of servitude (modern utilitarianism) as a central figure in classical reflection and artistic practice.The second part focuses on the analysis of the hero theory, or the genius, drawing a sequence that goes from Gracian to Ortega and Gasset.The representative character becomes the leader, cultural, or political leader.The third part focuses on the rhetoric of the scenic understood as leader and its various manifestations in the theater, in the urban planning, in education, etc.Cultural forms will change, the protagonists, but the scenic strategy is always renewed.

Creative Commons Licence cc by cc https://creativecommons.org/licenses/by/4.0/

spa

Freely available e-book