G. Bataille (from eroticism, chapter -de Sade and normal man )
… The extremes are called civilization and
barbarism- or savagery. But the use of these words is misleading, for they
imply that there are barbarians on the one hand and civilized men on the other.
The distinction is that civilized men speak and barbarians are silent, and the
man who speaks is always the civilized man. To put it more precisely, since
language is by definition the expression of civilized man, violence is silent.
Many consequences result from that bias of language. Not only does ‘civilized’
usually mean ‘us’, and barbarous ‘them’, but also civilization and language
grew as though violence was something outside, foreign not only to civilization
but also to man, man being in the same thing as language. Yet observation shows
that the same people are alternately barbarous and civilized in their
attitudes. All savages speak and by speaking they reveal their solidarity with
decency and kindness that are the root of civilization. Conversely all
civilized men who rate themselves as among the most highly civilized of our
age. If language is to be extricated from the impasse, we must declare that
violence belong to humanity as a whole and as speechless, and that thus
humanity as a whole lies by omission and language itself is founded upon this
lie.
Violence
is silent and de Sade’s use of language is contradiction in terms
Common language will not express violence. It
treats it as a guilty and importunate thing and disallows it by denying it any
function or any excuse. If violence does occur, and occur it will, it is explained
by a mistake somewhere, just as men of backwards civilizations think that death
can only happen if someone makes it by magic or otherwise. Violence in advanced
societies and death in backwards ones are not just given, like a storm or
flood; they can only be the result of something going wrong.
But silence cannot do away with things that
language cannot state. Violence is as stubbornly there just as much as death,
and if language cheats to conceal universal annihilation, the placid work of
time, language alone suffers, language is the poorer, not time and not
violence.
Useless and dangerous violence cannot be
abolishes by irrational refusals to have any truck with it, any more that the
irrational refusals to treat with death can eliminate that. but the expression
of violence comes up against the double opposition of reason which denies it
and of violence itself which clings to a silent contempt for the words used
about it.
i had a scene in my head- you read the foucalt scene and i will have a huge piece of meat on the flour and i will cut it in pieces rhythmically. i would love to have a hummer. may be this is too literally , but may be other-way around by being literally and doing it for real it can evoke different thoughts. the pleasure of violence and breaking of taboo. it is also very sexual.
i had a scene in my head- you read the foucalt scene and i will have a huge piece of meat on the flour and i will cut it in pieces rhythmically. i would love to have a hummer. may be this is too literally , but may be other-way around by being literally and doing it for real it can evoke different thoughts. the pleasure of violence and breaking of taboo. it is also very sexual.
very interesting scene! yes...
ReplyDeleteimmediately what came to my mind is the film Jeanne Dielman by Chantal Ackerman.
http://en.wikipedia.org/wiki/Jeanne_Dielman,_23_quai_du_Commerce,_1080_Bruxelles
There is a crucial scene where the woman in the film makes meatloaf, and there is this suppressed aggression in that process that goes on.
you have to see it in the context of the movie, and the experience on the big screen. it is a quite structural-minimalist feminist film, and has a power in the way she uses time on the big screen. this power does not occur so much on youtube or when watching her films -- this one in particular -- on dvd.
there is a power that occurs that I can't put my finger on, when you are watching this movie in the cinema, with others. Something to do with how she is using minimalism and structural film making, and the body (the woman) you watch in these scenes. It really does not work so powerfully on a little screen at home... for some reason... its interesting that!
as it were here is the scene
http://www.youtube.com/watch?v=FDNzwfjJMf4
******
i don't know about it being too literal. but i do wonder if the idea you are dealing with here, would be displaced by activating violence on the meat.
i think how you approach the meat, how you perform relating to the meat is very important.
if it just becomes this 'savage' attack, then i think it sorta over-states the problem... and doesn't allow a way into it...
i am not sure... just sharing thoughts on it at the moment!
how the 'violence' transpires, how it relates/counter-themes/compliments/etc. the Foucault text in process is all sigificant here...
let's see about it!! yes!!
yes, this is exactly what i mean with choreographing the movements with meat. which means different kind of qualities, from small movements to big ones. so it triggers my own imagination and that from the audience. i am also thinking about the structure of the meat in a very sensual way, different the texture. this details are so cool in fassbinder example. he is going beyond just slating the animal, but really observing all the details with precisions and daily kind of attitude, routine. i like this distance ad the contrast of the story and music putted together. a perfect misanscene or what ever it is called :))) when you separate the elements and put them together in alienated form to give the pain back and also allow the pain be there to observe.
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