chéjov adelantó lo que sería la devastación del mundo

8/6/2019 Chjov adelant lo que sera la devastacin del mundo

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Chjov adelant lo que sera la devastacin del mundo: De Tavira

La CNT presenta en Bellas Artes dos funciones deEl jardn de los cerezos, obra del autor ruso

La puesta en escena refleja un cambio que preconiza la elevacin del dinero a un valor

absoluto, dice el director de la compaa. Plantea reconstruir un nuevo idealismo oprecipitarnos al nihilismo

CARLOS PAUL http://www.jornada.unam.mx/2011/01/27/index.php?section=cultura&article=a03n1cul

Peridico La Jornada Jueves 27 de enero de 2011, p. 3

Smbolo del derrumbe de un modo de vida que no se adapta a las nuevas circunstancias, la obra

El jardn de los cerezos, escrita en 1903 por Anton Chjov, cobra actual relevancia al reflejar

tambin un cambio que preconiza la elevacin del dinero a un valor absoluto, considera Luis de

Tavira.

En charla conLa Jornada, el director de la Compaa Nacional de Teatro (CNT), agrupacin

que presenta la obra de Chjov hoy y el sbado 29 en el Palacio de Bellas Artes, explica que

ante el vaco y el fracaso de los idealismos anteriores lo que (hoy da) se impone es el mercado,

la voracidad de los especuladores, donde lo que importa es ver cmo toda aspiracin humana se

ve subordinada al inters econmico, convertido en el valor absoluto, as destruyamos al

mundo.

En El jardn de los cerezos, obra con la que Chjov concluy su produccin teatral, pues muri

pocos meses despus del estreno, la historia se centra en una familia de terratenientes,

representantes de la antigua aristocracia rusa, que se ve en problemas econmicos y sinembargo no se preocupa por mejorar o recuperar lo que est a punto de perder: el huerto de los

cerezos.

La familia pierde sus propiedades a manos de la nueva burguesa, la cual a pesar de s misma,

llega a desplazarlos dentro de la estructura social, aunque la antigua aristocracia se niegue a

aceptar esa circunstancia.

Se trata de una obra que refleja el fin de una poca y el comienzo de otra. El mundo

reaccionario de la clase aristocrtica, estudiantes incapaces de llevar a la accin sus palabras y

ex esclavos que rechazan ser liberados, son avasallados por los tiempos que cambian sin que

ellos lo perciban, entre la indolencia y el vaco, entre la ilusoria felicidad de los deseos y lacontundencia de los hechos.

Segn Luis de Tavira, la pieza de Chjov es una obra que se adelanta a la conciencia de la

devastacin ecolgica, a la irrupcin del mundo industrial al servicio del mercado y ste al

servicio de la voracidad del dinero, lo que ha llevado a devastar el mundo, porque hemos

olvidado ese amor mutuo, esa relacin del ser humano con la naturaleza, y que es simbolizado

por el jardn.


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Seores y siervos

La obra de Anton Chjov requiere del espectador contemporneo, una cierta disposicin,

manifiesta Luis de Tavira.

El reto aspira a alcanzar la intimidad de los personajes, pues la accin transcurre a lo largo decuatro actos que van del inicio de la primavera al comienzo del invierno, en el bosque de una

finca inmerso en el paisaje de la vasta Rusia. El espectador debe ir dispuesto a morar y

demorarse para alcanzar la dimensin de la vida que ofrece el teatro.

Anton Chjov nos invita a demorarnos en el devenir de la vida cotidiana, aunque en medio de

esa trama realista, el simbolismo irrumpe de diversas maneras, en forma de sonido (del que

nadie puede explicar su procedencia) de una cuerda que se rompe o cuando se discute sobre la

inutilidad del jardn, porque nadie utiliza las cerezas para ganar dinero, as que la cosecha se

pudre.

Ah el viejo mayordomo es smbolo del agotamiento y fin de un mundo, pues recuerda que lascerezas eran objeto de cultivo para aprovechar sus frutos deliciosos. Lo que tambin simboliza

que ya no hay armona con la naturaleza.

Por otra parte, el comerciante, abunda Luis de Tavira, es el hombre capaz de aprovechar las

transformaciones econmicas y sociales, en un mundo en el que slo hay seores y siervos,

pero al mismo tiempo es un hombre incapaz de entregarse al amor, porque est entregado al

negocio.

Ello es parte de esa situacin en la que el utilitarismo se encuentra al servicio de las cosas que

antes no tenan ms valor que ser ellas mismas, para convertirlas en mercanca y ponerlesentonces un precio de intercambio, lo que al final de cuentas ha perturbado las relaciones del

hombre con el mundo.

El jardn de los cerezos no es un melodrama, sino una obra realista que se articula ms por

metonimias que por metforas, es decir, por elementos mnimos capaces de contener el todo.

Aqu, el realismo se lleva a una encrucijada donde hay un dilema: o seremos capaces de

reconstruir un nuevo idealismo o nos precipitamos en el abismo del nihilismo.

Chjov, con su dramaturgia, concluye De Tavira, propone un teatro de lo no dicho en lo dicho,

por lo que actoralmente el reto es que los actores tienen que interpretar o componer lo no dicho.

Con duracin de cuatro horas y tres intermedios,El jardn de los cerezos se presenta hoy y el

sbado 29, a las 19 y 18 horas, respectivamente, en el Palacio de Bellas Artes (avenida Jurez,

esquina Eje Central, Centro).

Despus tendr temporada del 10 de febrero al 6 de marzo en el Teatro de las Artes del Centro

Nacional de las Artes (avenida Ro Churubusco, esquina Tlalpan), de mircoles a domingo.


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Robert Fisk: A new truth dawns on the Arab world

Leaked Palestinian files have put a region in revolutionary mood

Wednesday, 26 January 2011

The Palestine Papers are as damning as the Balfour Declaration. The Palestinian "Authority"

one has to put this word in quotation marks was prepared, and is prepared to give up the"right of return" of perhaps seven million refugees to what is now Israel for a "state" that may

be only 10 per cent (at most) of British mandate Palestine.

And as these dreadful papers are revealed, the Egyptian people are calling for the downfall of

President Mubarak, and the Lebanese are appointing a prime minister who will supply theHezbollah. Rarely has the Arab world seen anything like this.

To start with the Palestine Papers, it is clear that the representatives of the Palestinian people

were ready to destroy any hope of the refugees going home.

It will be and is an outrage for the Palestinians to learn how their representatives haveturned their backs on them. There is no way in which, in the light of the Palestine Papers, these

people can believe in their own rights.

They have seen on film and on paper that they will not go back. But across the Arab world

and this does not mean the Muslim world there is now an understanding of truth that there hasnot been before.

It is not possible any more, for the people of the Arab world to lie to each other. The lies are

finished. The words of their leaders which are, unfortunately, our own words have finished.

It is we who have led them into this demise. It is we who have told them these lies. And wecannot recreate them any more.

In Egypt, we British loved democracy. We encouraged democracy in Egypt until the

Egyptians decided that they wanted an end to the monarchy. Then we put them in prison. Then

we wanted more democracy. It was the same old story. Just as we wanted Palestinians to enjoydemocracy, providing they voted for the right people, we wanted the Egyptians to love our

democratic life. Now, in Lebanon, it appears that Lebanese "democracy" must take its place.

And we don't like it.

We want the Lebanese, of course, to support the people who we love, the Sunni Muslimsupporters of Rafiq Hariri, whose assassination we rightly believe was orchestrated by the

Syrians. And now we have, on the streets of Beirut, the burning of cars and the violence against

government.


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And so where are we going? Could it be, perhaps, that the Arab world is going to choose its

own leaders? Could it be that we are going to see a new Arab world which is not controlled by

the West? When Tunisia announced that it was free, Mrs Hillary Clinton was silent. It was thecrackpot President of Iran who said that he was happy to see a free country. Why was this?

In Egypt, the future of Hosni Mubarak looks ever more distressing. His son, may well be hischosen successor. But there is only one Caliphate in the Muslim world, and that is Syria.Hosni's son is not the man who Egyptians want. He is a lightweight businessman who may or

may not be able to rescue Egypt from its own corruption.

Hosni Mubarak's security commander, a certain Mr Suleiman who is very ill, may not be the

man. And all the while, across the Middle East, we are waiting to see the downfall of America'sfriends. In Egypt, Mr Mubarak must be wondering where he flies to. In Lebanon, America's

friends are collapsing. This is the end of the Democrats' world in the Arab Middle East. We do

not know what comes next. Perhaps only history can answer this question.

Like Robert Fisk on The Independent on Facebook for updates

___________________

Robert Fisk: Some people will do anything to avoid blame

Saturday, 15 January 2011

I am no happy reader of Canada's National Post, but am driven to report to you that a recent

graph in the paper suggests that "the term 'Palestinian' became popularised as a marker ofidentity after the Six Day War of 1967".

Since Jordan had long ago annexed the Arab West Bank and since Israeli prime minister Golda

Meir once claimed that Palestinians did not exist, I guess that makes sense. But it does seem a

bit much that we get to recognise a Middle Eastern people only when the victims have beenoccupied by someone else's army. After all, we recognised the French for centuries before the

1870 Franco-Prussian war. And while it might be said that the Goths, Ostrogoths and Visigoths

didn't get much of a look-in until the Romans invaded Germania, no one in Italy doubted thatGauls existed before Vercingetorix.

But wait. The National Post, another journalistic flagship for the Israeli state in a foreign land,doesn't quite say what it appears to say.

The term Palestinian, you will notice, wasn't "recognised" after 1967. It was "popularised". And

it was "popularised" not as a "national identity" but as a "marker of identity". This may be dueto the ignorance of what is to be found on Google (whence the paper appears to have sucked

this tosh) or to its own gutlessness. But you get the point. After 1967, the Palestinians came to

be "popularised" as Palestinians in the same way, I suppose, as Walt Disney "popularised"


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Mickey Mouse. Of course, being "popularised" didn't make him real. It's a new way of using

language not to manipulate in order to lie, but to hide behind it in order to avoid personal

responsibility or say things which may provoke others to call you racist, anti-Semitic,uncultured or, an old favourite of mine, "pre-judgemental".

Indeed, as your Middle East correspondent swoops around the world, trying to write reports indecent English, I bring you other bad news from the snowy wastes of urban Canada. I have, forexample, just opened my copy of the Toronto Star to discover how a city police officer a

certain Detective Paul Lentsch, whose name must surely now become indispensable to all

semanticists wanted to express his feelings about a probable arson attack. A resident of the

burnt-out building, the paper suggested, may have been involved in contract killings in the US.But here comes Detective Lentsch's arrival in linguistic history. "We've put a lot of time into

this house this month," he announced. "It's concerning." It's what? Let's have that again. IT'S

CONCERNING. Well, blow me down. I always thought to "concern" was a transitive verb thattook a plain old-fashioned object. But what is the object here? "It" ie the burnt-out house or

the reader who perhaps should be "concerned"? But certainly not Detective Lentsch. If he had

any feelings on the matter, he would surely have said "I am concerned", although even thatmight be regarded as a somewhat mild reaction to an arson attack. But nope, our favourite

detective simply didn't want to express a personal opinion about crime.

Same goes, incredibly, for the Toronto Star's music critic when it comes to, well, music.

Murray Perahia's performance of Brahms's piano music on CD is greeted by critic JohnTerauds with these words: "Veteran American pianist Murray Perahia compels with crisp,

purposeful playing." Yes, but what is he "compelling", for God's sake? Again, to "compel" is a

transitive verb. It needs an object. Is it us who are "compelled"? Or Mr Terauds? More likely,Mr Terauds doesn't want to commit himself. No personal views please.

And since corrupted English travels west to east across the Atlantic, let's take a look at the

Quebec government's "family minister" Yolande James, who has just banned religious

instruction in child daycare centres. Christmas trees are OK, even nativity scenes providingthe kids aren't told the identity of the baby in the manger. Bing Crosby is OK. "Silent Night" is

not. Canadian Jews and Muslims are equally offended.

But hark to Ms James's message. "All questions touching the transmission (sic) of faith that

is, teaching religion itself do not belong (sic) within the publicly funded daycare system."

Ho hum. Religion, it seems, is something that can be passed on, caught, a disease that mightinfect others. The transmission of Aids, for example, certainly doesn't belong to daycare

centres. But religion? And note the "belong". This "transmission" cannot "belong" because it

might become a part of school. Culture's great. God's out. But I loved the fact that Ms Jameswas so conscious of her own gobbledegook that she had to explain that "transmission of faith"

actually meant "teaching religion". Call Detective Lentsch at once.

But there's no stopping this stuff. Prince Edward Island, hitherto a quiet Canadian Atlantic

province, was described in a 1999 government report as suffering from "a strong cultural normof 'sameness'". Down, readers, down, I know how you feel. Those Canadians in PEI were all

bloody whities, weren't they? Wretched descendants of Anglo-Scots-Irish ancestry. But relax,


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all is OK. Because now, according to Kathy Hambly, director of a local chamber of commerce,

"every street you walk down offers a different ethnic experience". The key words, of course,

are "street" and "experience". Immigrants tend to settle in areas together streets rather thanhomes while their presence gives us an "experience", something culturally good, no doubt.

I am a strong supporter of Canada's multi-ethnic society. What gets me is the happy-clappy wayin which these government apparatchiks force their multiculturalism on the world at the cost ofdestroying the English language.

I shall end with the worst of all recent linguistic crimes. My old letter-writing chum Max Pieper

brings to my attention the outrageous attempt by a liberal Jewish writer, Ilan Gur-Ze'ev to

diminish the importance of the Jewish Holocaust in order to explain Palestinian suffering. Igive you this key paragraph do not ask me to explain this, for I have no idea what it means

as an example:

"The Holocaust is not merely a historical episode. It is first and foremost an expression of the

fundamental histories of experience taking place in the dialectic between Eros and Thanatos,which we duplicate in an ecstasy that has been domesticated to a state of smug 'normality'."

O reader, this does not compel. But call Detective Lentsch. It's concerning.

chéjov adelantó lo que sería la devastación del mundo

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