By Walter A. Davis
This e-book explores the complicated courting among artwork and politics. Walter Davis makes use of his huge wisdom of psychoanalysis to boost a philosophical critique of the effect that the present political weather is having on all inventive endeavour. He makes use of examples from a large choice of fields together with the theatre and pop culture, to teach how real inventive freedom of expression is less than possibility from the ideological constraints imposed by way of modern capitalism.
Starting with an research of the censorship of the play 'My identify is Rachel Corrie', which used to be withdrawn from construction through an enormous ny theatre because of political strain, Davis exhibits how all artwork that demanding situations the mainstream is suppressed or distorted to fit the politics of our time -- one who won't realize the reality of human adventure and the illness on the center of all civilization.
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Extra info for Art and Politics: Psychoanalysis, Ideology, Theatre
The form of such a play follows the path blazed by Arthur Miller. Any historical conflict we care to dramatize must be subsumed under the universal humanistic truths we impose on it, so that audiences can through drama have their faith in unchanging truths restored. The duty of such a theatre is to reaffirm our assurance (and pleasure) in a quasi-Platonic process that always triumphs over time and contingency. Isn’t it pretty to be reminded, especially in dark times, that human nature is good, unchanging, something we all have that cannot be lost?
Why have most social and political theorists and commentators on the left become so estranged from understanding the cognitive status of art that they can see drama as little more than a way of popularizing ideas in order to give an audience a quick fix on some controversial issue? , not to mention Leon Trotsky and Karl Marx. For these thinkers, art is absolutely central, both to our knowledge of history and our struggle, because radical art performs a unique function in exposing the ideological blinders that control the left as well as the right.
So, consider this: What if the whole controversy was cooked up precisely to assure the mega-success of a very minor play? The Producers for highbrows! Let’s create a media event. There’s no better publicity. Everybody wins—even NYTW. Jim Nicola’s temporary embarrassment is already being softened by daily testimonials from the other luminaries of progressive theatre and no doubt this vote of sympathy will pay dividends in the chorus of praise that will be lavished on his next production. In the meantime, another New York theatre will be given an opportunity to proclaim its progressive credentials all the way to the bank.