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Prometheous/plague

Beauty is a characteristic of an animal, idea, object, person or place that provides a perceptual experience of pleasure or satisfaction.

Beauty is studied as part of aesthetics, culture, social psychology, philosophy and sociology.

Promethe/Plague is the latest production of Beyn Theater Group, in development, produced during the Contemporary human’s Tragedy project, is an adaptation of Prometheus Bound by Aeschylus and The State of Siege by Albert Comus.

[Bound] Prometheus of Aeschylus is a Titan [from the second generation of Greek divine beings] who – despite the will of Zeus, the autocrat king of the new gods of Mount Olympus – steals fire from heavens and brings it to the earthen mankind [as a gift]. He [, however,] never accepts the benevolences or well-intentioned advices of moderate [passive] gods or Zeus’s heralds to repent, feel sorry or ask apology; thus he is sentenced [by Zeus] to be chained [eternally] to a rock in the Caucasus – middle of nowhere – and his liver to be eaten daily by an eagle and grow back overnight to, again [and again], be teared up the next day. Yet the most thing Aeschylus has not considered – or considered less – is human being; whom ceaselessly erodes or smashes beneath the likely mannered opposition between old and new gods – or their agents – or the constructed heaven/earth, divine/human, culture/nature or should/shouldn’t binaries and derived ideologies or hegemonic structures which are organized based on such dichotomies. Then probably this destructed man[kind], burned by the fire which is the gift of Prometheus, would arise again from his ashes like the phoenix; not in a glorious mythological figure but in some manifestation of cruelty or devastation which resembles the Plague – as either [Antonin] Artaud has described or [Albert] Camus portrayed in The State of Siege (L’État de siège).

“Plague” is the title for that sun which probably would rise and ruinously beam on the [tragic] life of contemporary man to – haply – show him a vague lane to redemption, freedom or salvation; some uncommon scarce salvation which would [or wouldn’t] be definable in a [dis-]coordination rather than the sclerotic [or definite] one that [has] encompassed or circumscribed us – the late contemporary man [or woman or whatever].

There is evidence that perceptions of beauty are evolutionary determined, that things, aspects of people and landscapes considered beautiful are typically found in situations likely to give enhanced survival of the perceiving human’s genes.

They also include less tangible advantages such as a confidence (not always warranted) that the system will be forgiving of your and your children’s “mistakes,” that your bad habits won’t be seen as racial flaws, that portrayals of your race in the media and in history books will be mostly positive, and that your race will remain a norm against which racial and cultural difference is measured and judged. It should come as no surprise that white people act collectively, if not always consciously, to preserve these benefits.