![]() However, comedy never allows us to lose our grasp on the real world’s intransigence rather, as Umberto Eco’s The Name of the Rose takes pains to caution us, the journey from the lives we tolerate to an ending of the dead weight of historical prevalence has yet to be completed. ![]() It allows us to dream of our release from history’s constraints by providing us with provisional images, embedded in easily identifiable and thus more persuasive forms, of what such a utopian realization might feel and look like. The primary focus in comedy is to represent the surrender of the predominant to the possible, the victory of human benevolence over the rigid stratifications of historical actuality.Ĭomedy dramatizes the utopian within the historical. Whereas tragedy is preoccupied with the annihilation of the potential by the actual, comedy is leveled at the (pitifully) remote horizon of what could be, rather than absorbed in the immediate oppression of what is. Comedy affords us the opportunity to explore how the world might look and feel with the dead weight of predominance and probability lifted from its shoulders. ![]()
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