Adorno, Beckett and philosophy's parody

DOI: https://doi.org/10.13135/2704-8195/6268
Keywords: aesthetics, philosophy of music, dramaturgy, philosophical pessimism, modern theatre

Abstract

Adorno subsidiarily brings Samuel Beckett back to a kind of philosophy of modern music or to a modern philosophical music. Along this line, Adorno establishes analogies among Kafka, Beckett and Schönberg, which deny the function of art as a sedation of anxiety, creating an art that is above all a mockery of the authenticity of existentialism. The essay then explains the relationship of Adorno’s theories with Kierkegaard, but above all with Schopenhauer, from whom the German thinker derives an idea of ascetic art, distant and opposed to the infernal social voluntas.

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Author Biography

Franco Perrelli, University of Bari "Aldo Moro"

Franco Perrelli is Full Professor of Performing Arts in the Department of Humanities at the University of Bari, Italy. In 2009, he won the Pirandello Prize for his book I maestri della ricerca teatrale. Il Living, Grotowski, Barba e Brook (2007) and the Strindbergspris of the Swedish Strindbergssällskap in 2014. His publications include in English On Ibsen and Strindberg. The Reversed Telescope (2019).

References

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Horkheimer, Max, e Theodor Wiesengrund Adorno. 1997. Dialettica dell’illuminismo. Intr. Carlo Galli. Tr. it. Renato Solmi. Torino: Einaudi.

Jesi, Furio. 1972. Kierkegaard. Fossano: Editrice Esperienze.

Kierkegaard, Søren. 1973. Timore e tremore / La ripresa. Tr. it. Franco Fortini, Kirsten Montanari Gulbrandsen, Angela Zucconi. Milano: Edizioni di Comunità.

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Published
2021-12-21
How to Cite
Perrelli, F. (2021). Adorno, Beckett and philosophy’s parody. Filosofia, (66), 15-23. https://doi.org/10.13135/2704-8195/6268
Issue
No. 66 (2021): Philosophy and Theatre
Section
Essays

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