By Augusto Boal
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Sample text
Plays that are too narrowly directed toward a single purpose run the risk of contradicting a fundamental principle of theater, Page 58 THEATER by its name: Marxist poetics! But at the time when he threw doubt on the initial designation, many books had already been written and the confusion was already established. Utilizing now the outline of differences between idealist poetics and that of Brecht, an outline that he includes in his preface to Mahagonny, the following analysis is an attempt to point out which are the differences of genus and which are of species.
Obviously one cannot conclude from this that only he who was not a! noblema n could possess virt trust in praxis, and much less that every bourgeois had necessarily to possess those qualities, under penalty of ceasing to be a bourgeois. Machiavelli himself criticized the bourgeoisie of his time, accusing it of placing too much value on tradition, of dreaming excessively of the romantic rules of the feudal nobility, thereby weakening itself and delaying the consolidation of its positions and the creation of its own values.
In the Greek theater the system functions as it is shown in our diagram; but in its essence, the system survived and has continued to be utilized down to our own time, with various modifications introduced by new societies. Let us analyze some of these modifications. First Type: Hamartia Versus the Perfect Social Ethos (classical type). This is the most classical case studied by Aristotle. Consider Page 42 Aristotle's Coercive System of Tragedy 41 again the example of Oedipus. The perfect social ethos is presented through the Chorus or through Teiresias in his long speech.