Abstract

FACANHA, Luciano da Silva  and  SILVA, Irlene Veruska Batista da. The representation in the sphere of the theater according to Jean-Jacques Rousseau. Conjectura: filos. e Educ. [online]. 2022, vol.27, e022026.  Epub Mar 20, 2024. ISSN 2178-4612.  https://doi.org/10.18226/21784612.v27.e022026.

The objective is with this article, an explanation about the problem of theatrical representation and its effects on spectators from the ethnological and political character, through the criticism carried out by the philosopher Jean-Jacques Rousseau. It is based on the work Letter to D'Alembert on spectacles. In this work, Rousseau presents a critique of social representation through the arts, with an emphasis on the French class theater of the 18th century., which was until then was forbidden. The Charter was born in response to a geographical Verbete, Geneva, written in tome VII of the Encyclopedia by D'Alembert, in which the latter extolled the qualities of the Theater and suggested inaugurating a company of comedians in the eponymous city, which was until then prohibited. And in response to this issue, the Genevan discusses in the Charter, all its criticism and contempt for the French theater of the eighteenth century and meticulously expresses the reasons for not founding a theater company in its Republic of Geneva, attributing to the games and civic spectacles a pedagogical importance as opposed to the theatrical spectacles produced at the time. It breaks down, thus, definitely with the Enlightenment and with the men of letters of its time. Starting from this context, we will discuss in this article, about this duality between being and appearing to be a game of opposition between a society corrupted by theatrical spectacles (and other forms of representation) and another free from the corrupting effects of the theatrical scene. In the latter, the only possible spectacle is the one in which the spectator himself is the spectacle: the civic parties. For Rousseau, the party provides a show without representation, because everything revolves around naturalness, contact with the other arises in spontaneity, nothing can be shown, decorated and imposed. Luxury is intertwined with the brilliance of the collective gaze of the party.

Keywords : Rousseau; Theater; Criticism; Representation; Party.

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