The State in the theatre of cultural operations

When you create in a national space, you don't meet the public, you meet the state...

In this case, we are welcomed by the State. Public and artists combined. As at home, it is he who receives, who dictates the limits and the rules of decorum. There can only be official art in this context. No artist can free himself from it. He would first have to degrade and destroy this place of reception so that it would no longer be recognized as part of the State.

No democratic state can have the capacity it claims to have: to give freedom to its guests. It cannot truly offer what it must imperatively control.

He can only make those who take this freedom not offered; who make the mistake of taking it, pay a very high price. The artistic trap is to want to be free on a state stage. The mutual conditioning between artists, administration and public is too strong. The watchword comes from too high up:

"Don't overflow. Enlighten, meet, transform, make people dream, reflect, but play within our frameworks".

As a result, all shows that claim to show an imagery of freedom in these spaces are rendered bad and degraded. They often achieve their aesthetic goals - luxury of means obliges, their reflexive ambitions, even pedagogical, but fatally miss their artistic goals: to surprise one's world, to awaken the spirit of men by the shock of the incongruous, by the fresh air that makes the shaking of any foundation conceivable.

Out of harm's way

Whatever they propose to do, everything will be said in advance. Zero surprises off the stage; that is, no creation of persistent, useful and pragmatic mental space in the spectator's thinking. Nothing that offers him the means to shout the cry that he needs and that he feels buried in his inner self.

The cultural convention doubles that of the theatre with silky armour, like the second safe skin of an atomic power station, which everyone would sing the praises of. Thus no necessary disaster, no indispensable Chernobyl, is possible without the destruction of these walls. None of those multiple false walls, wall decorations that a theatre offers to see. No building, apart from atomic shelters or prisons, seems to have more multiple envelopes than theatres. When I speak of collapse, I am talking about its real walls, which should not be collapsed in their entirety, but drilled in part; drilled to leave an entrance passage as the result of a bombardment, a shell hole.

The theatres have been too much adorned with temple entrances and frontispieces. Manifest confusion of powers, officially unofficial national artistic religion. It would be a good idea to separate the Theatre from the State in order to obtain a "secular" creation.

Militia spectators of the state culture

As a result, the public, in turn, does not resist being bad; without independence; judge and poser. These are the feats of arms of the dubbed subscriber. He also composes the show and therefore does not escape the laws of propriety. The word is important because decency covers the rules of good manners in society, laid down by the norm, itself instituted by the feeling of the common good corroborated by the State.

We must never forget that the role of the state has never been to take risks. On the contrary, it is there to protect us from them.

It is therefore important to make a clear distinction between politeness, which is a choice of behaviour on the part of the individual and which can lead to refinement, and decorum, which is the product of laws leaning in the direction of the majority.

Paternalism, National Scenes and the Final Solution

Of course, in these times of subtle self-imprisonment, the virtues of a reserved requirement for a fulfilling and fulfilling life, are sold as a way out, a medium and controlled choice that everyone must understand and accept. One must live with good intelligence. You don't have to fight, you don't have to argue. A nation is a family and good understanding must reign for the benefit of the famous common good, the cream pie of all authoritarian powers.

Reasonable will therefore be the crazy and unbridled creations once plunged into the national arenas. Beautiful poetic constructions, beautiful intelligent words, but which we cannot believe to be dangerous. Zero thrill of reality. The cleverest - those who have the least childhood - will come out of it to create a persevering work that will give the illusion of a sought-after and powerful thought.

Limited artistic ambitions, guaranteed professional future.