La caverna de Josep Palau i Fabre. Teatre versus al·legoria filosòfica per a representar i impedir el final tràgic i fosc del lluminós art de pensar
What is the use of representing in performance the image of the cave from book VII of Plato's Republic? Josep Palau i Fabre considers that in Plato's dialogues the speakers are mere instruments at the service of his dialectical purpose. The aim of this article is to show how, by turning th...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2012 |
| País: | España |
| Institución: | Varias* (Consorci de Biblioteques Universitáries de Catalunya, Centre de Serveis Científics i Acadèmics de Catalunya) |
| Repositorio: | Recercat. Dipósit de la Recerca de Catalunya |
| OAI Identifier: | oai:recercat.cat:2445/144672 |
| Acceso en línea: | https://hdl.handle.net/2445/144672 |
| Access Level: | acceso abierto |
| Palabra clave: | Tradició clàssica Mite de la caverna (Al·legoria) Teatre català Classical tradition Plato's cave (Allegory) Catalan drama |
| Sumario: | What is the use of representing in performance the image of the cave from book VII of Plato's Republic? Josep Palau i Fabre considers that in Plato's dialogues the speakers are mere instruments at the service of his dialectical purpose. The aim of this article is to show how, by turning the myth into a tragedy and relying on Heraclitus's conflict or war of opposites, the playwright succeeds in favouring a sort of thought which is not one-sided or univocal. On the contrary, in Palau i Fabre's La Caverna, the tragic hero, the released prisoner transformed by the light of Reality and finally killed by his "cavemates" -after having been imprisoned again and having tried to rescue them from their ignorance or shadows- still leaves them his powerful experience of the agonistikós thought, which might bear fruit in their life to come. |
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