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Here the author borrows the symbolic imagery of the playwright in question and rather ingeniously
articulates a further structural metaphor which seems to explain the nature of his work, going beyond
description and into the real anthropomorphic subconscious which, it seems certain, allows us to
understand the structures at hand in a new manner, in a way which focusses on the self-genesis of the
medium. When one transcends the impulse to "translate" these images into an objective-descriptive symbolic
logic or similar terms, one sees that Bensky has put his finger on the very imaginaire social on
which the theatre depends, and in whose meta-language it is spoken beneath and beyond translation into
discursive language.
Although he does not go into Dilthey's or Heidegger's philosophy of mind, we see that he has seized
certain of the same psychological truths these two thinkers recognised. In the following passage, which
heralds a later chapter devoted to phantasia and mimésis, one is reminded of the
former philosopher's concepts of Erlebnisphantasie and Erlebnisausdrücken, also
further examined by the latter, and their common Greek ancestry then seems to come as no surprise in an
artistic and aesthetic context:
Nous reviendrons à la distinction capitale - voire à la synthèse conflictuelle
-entre "phantasia" et "mimésis". Pour l'heure, articulons plutôt une contre-vision :
derrière l'apparence d'une saisie extra-humaine, "olympienne", des choses, l'illumination de Bailly
signifie en même temps une occultation, peut-être volontaire. De l'autre côté du
fil d'Ariane - de la main de Thésée tenant cette attache à l'Amour, au passé,
à la porte du réel, se tient non pas une apesanteur où la Figure redevient virginale
[...] mais le Minotaure, tératos archétypal auquel il faut faire face. Or, celui qui ne
sait point que le monstre intra-psychique l'attend, qui ne le voit même pas au creux de son labyrinthe,
se trouve déjà en état d'hypnose. Il se peut que le secret véridique des
monstres fabuleux - qu'ils se nomment Chimère, Méduse ou Minotaure - c'est de faire croire
à leurs victimes éprises d'infini qu'ils n'existent même pas et que la dévoration
de leur moëlle psychique est le chemin inexorable de l'extase.
Here, in short, Bensky uses the mythical structures he elaborates to explain the characteristics peculiar
to Bailly's theatre, notably his treatment body, voice and time, which in turn, appear to
enhance our view, in light of Bensky's paradigm, of theatre as a form.
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