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Rousseau's Idea of Theatre Maria Gullstam Rousseau's Idea of Theatre From Criticism to Practice Rousseau's Idea of Theatre Rousseau's Idea of Maria Gullstam ISBN 978-91-86434-56-4 Department of Culture and Aesthetics Doctoral Thesis in Theatre Studies at Stockholm University, Sweden 2020 Rousseau's Idea of Theatre From Criticism to Practice Maria Gullstam Academic dissertation for the Degree of Doctor of Philosophy in Theatre Studies at Stockholm University to be publicly defended on Friday 28 August 2020 at 13.00 in Auditorium (215), Manne Siegbahnhusen, Frescativägen 24E. Abstract As a critic of the moral consequences of Parisian theatre while writing plays and music for it, Jean-Jacques Rousseau (1712-1778) had a double relationship to the art form of theatre. This doctoral thesis argues that his seemingly double position towards the theatre is not necessarily contradictory. Building on previous research about Rousseau’s writings for the theatre, its main questions are ‘Why did Rousseau compose works for the French stage, while at the same time directing his critique towards it?’ and ‘How through his own theatrical works did Rousseau try to respond, aesthetically and practically, to the inherent problems that he saw in the theatre?’ Drawing on both Jean Starobinksi and Jacques Derrida, the study outlines a theoretical starting point through the concept of pharmakon. In its two-fold structure – simultaneously medicine and poison – the pharmakon can help us understand how Rousseau saw art, and theatre in particular, as potentially both harmful and useful to society. Starting from Rousseau’s broader perspective on the arts, the thesis uses his many writings on music, alongside his early theoretical works on art and on the development of human society. This shows that Rousseau’s neologism perfectibility, in addition to being an anthropological term describing a human faculty, is an aesthetic notion through which he writes his own history of the arts. By conceptualising this thought structure as aesthetic perfectibility, it is possible to demonstrate how Rousseau uses this notion to understand, expose and oppose systematised and universal rules of reason, beauty and taste. This is fundamental for our understanding of his dual relationship to theatre and to his sharp criticism of the Parisian stage in the Lettre à d’Alembert. This is because aesthetic perfectibility has the same structure as the pharmakon; applied in the wrong way it is harmful to humanity, but studied well and used with care, it can also be applied to remedy or at least partly reduce the harm it has already caused. Moving from a theoretical perspective towards a practical one, the final chapters of the thesis focus on some of Rousseau’s principal stage works: Le Devin du village, Pygmalion and Narcisse, ou L’Amant de lui même. These chapters show that Rousseau’s understanding of theatrical imitation suggests how he perceived the Parisian stage as morally dangerous, and why, in his own theatrical works, he tried to problematise and expose how theatrical imitation could be used as a tool to obtain power. Finally, the study argues that Rousseau’s creation of a new dramatic genre, the scène lyrique, can be seen as an attempt to make theatrical art approach musical imitation, in order to make it less harmful morally. The thesis concludes by arguing that the public festival should be perceived as part of the same pharmakon as theatre, and that in his own stage works Rousseau therefore experimented with conceptual elements borrowed from the festivals. Keywords: Jean-Jacques Rousseau, theatre, the Enlightenment, pharmakon, perfectibility, aesthetics, imitation, the public festival, Pygmalion, Narcisse, ou L’Amant de lui-même, Le Devin du village. Stockholm 2020 http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-181580 ISBN 978-91-86434-56-4 ISBN 978-91-86434-57-1 Department of Culture and Aesthetics Stockholm University, 106 91 Stockholm ROUSSEAU'S IDEA OF THEATRE Maria Gullstam Rousseau's Idea of Theatre From Criticism to Practice Maria Gullstam ©Maria Gullstam, Stockholm University 2020 ISBN print 978-91-86434-56-4 ISBN PDF 978-91-86434-57-1 Cover photo from Performing Premodernity's production of Rousseau's Le Devin du village at Ulriksdal Palace Theatre, Stockholm, 2019, with choreography by Karin Modigh. Photo by Eva Frykevall. Distributed by STUTS – Stiftelsen för utgivning av teatervetenskapliga studier Printed in Sweden by Universitetsservice US-AB, Stockholm 2020 Till mamma, pappa och Etienne Ah! Where are the games and festivals of my youth? Where is the concord of the citizens? Where is the public fraternity? Where is the pure joy and the real gaiety? Where are the peace, the liberty, the equity, the innocence? Let us go and seek out all that again. Ah! où sont les jeux et les fêtes de ma jeunesse? Où est la concorde des citoyens? Où est la fraternité publique? Où est la pure joye et la véritable allégresse? Où sont la paix, la liberté, l’équité, l’innocence? Allons rechercher tout cela. Jean-Jacques Rousseau, Lettre à d’Alembert, 1758 Contents Acknowledgements .................................................................................... iii List of illustrations ........................................................................................ v Introduction ................................................................................................. 1 Rousseau’s idea of theatre............................................................................................ 1 Subject, aims and research questions ..................................................................... 1 Hypotheses .............................................................................................................. 6 Material and the research field ................................................................................. 7 Rousseau and the stage in previous research .................................................... 8 Transdisciplinary challenges and sources ........................................................ 13 Methodology and disposition ................................................................................. 16 PART I: Criticism and ideals ...................................................................... 23 Chapter 1 .................................................................................................. 25 Theoretical approach – Rousseau’s pharmacy ........................................................... 25 Antidotes and their poisons .................................................................................... 25 The pharmakon...................................................................................................... 28 The concept of perfectibility ................................................................................... 34 Perfectibility as pharmakon? .................................................................................. 38 Chapter 2 .................................................................................................. 43 Aesthetic perfectibility – a history of the arts ............................................................... 43 The first aesthetic perfection .................................................................................. 47 The value of imperfection....................................................................................... 50 The moral aspect of a growing concept ................................................................. 53 The perfect makeover (or renaissance) ................................................................. 55 Perfected theatre – ‘in chains on the stage’ ........................................................... 60 Theatre imperfected – the public festival and the birth of theatre ........................... 71 Chapter 3 .................................................................................................. 77 The stage of Enlightenment – and its power structures ............................................... 77 i Les philosophes and the theatre ............................................................................ 81 Didactics – a means of preserving intellectual influence ........................................ 90 Diderot’s comédie sérieuse versus Rousseau’s public festival ............................ 100 PART II: Strategies in practice ................................................................. 113 Chapter 4 ................................................................................................ 115 Exposing and amending theatrical imitation – an alternative education..................... 115 Transparency and communion............................................................................. 117 Pygmalion dissolved, Galathée reconstructed ................................................ 122 Exposing the imposed judgement ........................................................................ 127 Judging Narcisse, ou, L’Amant de lui-même................................................... 130 Escaping Plato’s cave .......................................................................................... 136 Le Devin du village in the open air under the sky ........................................... 142 Chapter 5 ................................................................................................ 153 Melodising theatre – performing the inner landscape ................................................ 153 Melody and the exception of musical representation ..........................................
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