Within the horizon of trivialities, life form also enamours itself with spirit of comic. They lie beneath the topsy-turvies of idiocy that life itself reckons. In modern world, the presentation of comical characters is favoured with certain ‘inbetweenness’. They represent none of the sides. They are not with heroes, heroines or villain. They stand by their side most of the time, yet they are alone. They mimic their bosses, their point of origin being the teller or sooth-sayer of age old dramatic forms. Modernity is negotiated through this ‘inbetween’ characters as they are not with any sides of authoritarian disposition. They speak about the whole condition of the play; mimic the theatrical form of theatre or cinema. They are the eloquent modern speakers about the whole condition of the playtheme and its formal authoritative dispositional hereness. This comic counter-position evokes the finitude of chorus of epic classical Greko-Roman drama or the teller inbetween plays of Indic epical drama. These characters use life-form to evoke the generalities of life’s trivialities and through these trivialities mock and mimic the high pitched drama between hero, villain and heroine.
These characters evoke simplicities of life domain within the heroic forms of representing life as a high end dramatic infinity. Comic forms are most modern as it encapsulates death-evoking finitude against the glamorous truths of after-life forms. Comical spirits are limited in small gestures of trivial finite moments, which attain momenthood through them . These moments are independent of the whole play, and pass on comments about the whole drama. The comic person’s gestures ridicule the heroic disposition of heroes, heroine or civic nuisance, the villain. These characters also find momenthood for they are not-at-home with the whole spirit of the drama. Their finitude mocks the infinity of after-life heroic forms which hints at life’s ever rhythm of the high-pitch human love and larger than life ends. In face of these high-pitch, more than life ends, ‘inbetween’ comical characters symptomatically evoke the folly of death and imperfections of life, of not-at-home in the heroic, or even villainy. In a sense, comic spirit are the highest form of modern spirit where comical characters, like gangrene, show the torn out vests of modern decomposition. Yet, in context of the whole play, after-life of comic spirit or play is attuned with the de-contextualized futural projectedness of thereness. It often memorises the tensionless past, with a glimpse of utopic spirit.
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