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O cinema como lugar de performance da angústia
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Há muitos conceitos em torno da Angústia, uma busca por um significado desse sentimento
que não tem nada de trivial, parece ser dotada de uma certa nobreza em seu sentido, não é um
sentimento como a tristeza, o medo, a dor, que são sentimentos mais óbvios, sempre ligados
diretamente a um objeto. Tristeza por algo, medo de alguma coisa e dor por algum motivo.
Ainda que a Angústia possa abarcar em si a tristeza, a dor e o medo, não são eles que a
definem. A Angústia é uma condição constitutiva da existência, surge com o próprio nascer
humano. Incontornável, ela é referenciada nesta dissertação por alguns filósofos como Jean-
Paul Sartre, Soren Kierkegaard e Martin Heidegger, escolhendo como melhor definição a
ideia de nada. “Aquilo com que a angústia se angustia é o “nada” que não se revela “em parte
alguma” (Heidegger 2005, 250).
O sentido da palavra “nada” para denominar Angústia não se refere a coisa nenhuma. De tão
complexo, o nada vem com a contingência de uma totalidade inominável. Quando falamos
que tudo está presente, é uma medida que traz nomeação a partir da presença das coisas,
quando falamos sobre o nada aparece a impossibilidade de nomeação, o que não quer dizer
sobre o desguarnecido ou coisa oca. Esse nada traz a ideia de que é a falta em si de uma
coisa, ou seja, a ausência de uma presença. Uma lacuna e não uma inexistência, assim como a
falta aparente de um livro em uma estante.
Essa denominação é escolhida por conta da afinidade com o conceito de Angústia para
Jacques Lacan, que é o encontro com o Real. O Real em Lacan é o que não podemos ter
dúvida, é o que volta sempre ao mesmo lugar, ainda que não tenha simbolização, não tenha
imagem, por se colocar no nível do traumático. Assim sendo, ao entrarmos em contato com o
Real, que não é falta e sim privação, nós entramos em condição de Angústia. Apesar da
Angústia ser sempre pela presença da ausência de um objeto, é da própria Angústia o caráter
de não preenchimento desse objeto em falta, por ser o Real traumático e irrepresentável: não
pode ser ocupado, é desconhecido pelo sujeito, pertence a esfera do inconsciente.
O ser humano sempre buscou a arte para mediar sua relação com o mundo, desde a préhistória
até a contemporaneidade, pois é através dela que damos conta dessa necessidade de
procurarmos formas simbólicas e imaginárias para reconhecermos nossa interação com os
acontecimentos da vida. Imprimir o que vemos e sentimos para revê-las e ressenti-las (aqui
aparecendo em função positiva) para reconhecer a realidade, pensá-la e entendê-la.
Entretanto, para Lacan, o que está no nível do traumático não tem símbolo e nem imagem.
Por isso a falta de representação, torna o traumático irreconhecível ainda que existente,
impossibilitando uma interação para produzir uma elucidação sobre o trauma, mantendo o
Real ao nível do inconsciente.
É o cinema, que tem essa aparência de sonho, que vai dialogar com o inconsciente tornando
possível uma performance para a Angústia. Assim como os sonhos são representações de um
sujeito castrado, o cinema pode, nessa posição de luz projetora da nossa realidade, dar conta
da Angústia.
Se o nada é o lugar filosófico que a Angústia se situa, no cinema esse lugar será também o
nada, representado pelo silêncio e o vazio. Já que não há imagem e nem símbolo que deem
conta da representação, o tempo cria essa possibilidade através dos “espaços vazios”.
Gilles Deleuze vai falar sobre esse vazio que surge a partir das imagens óticas-sonoras puras,
tendo como recurso a banalidade cotidiana, o tempo alargado, a quietude e a ausência. A
partir de três filmes, exemplifico o vazio cinematográfico que performa a Angústia, são eles:
Jeanne Dielman, de Chantal Akerman; Solaris, de Andrei Tarkovski e O eclipse, de
Michelangelo Antonioni.
Chegando à conclusão que ao viabilizar o cinema, nós possamos entrar em contato com a
nossa Angústia, possamos perceber que ela é inerente e significante da vida é o que nos torna
sujeitos, reincidindo assim da sua da negação, pois é a recusa à Angústia que nos leva cada
vez mais a ter uma vida alienada, sem agenciamento, subserviente a estrutura neoliberalista.
Ao reconhecer nossa Angústia podemos dar o devido valor à vida tornando-nos seres
autónomos e livres para idealizar uma realidade potente.
There are many concepts surrounding Anguish, a search for a meaning of this feeling that is nothing trivial. It seems to be endowed with a certain nobility in its sense; it is not a feeling like sadness, fear, or pain, which are more obvious feelings, always directly linked to an object. Sadness about something, fear of something, and pain for some reason. Although Anguish can encompass sadness, pain, and fear, they do not define it. Anguish is a constitutive condition of existence; it arises with the very birth of a human. Unavoidable, it is referenced in this dissertation by some philosophers such as Jean-Paul Sartre, Soren Kierkegaard, and Martin Heidegger, choosing the idea of nothingness as the best definition. “What Anguish anguishes about is the 'nothing' that reveals itself 'nowhere” (Heidegger 2005, 250). The meaning of the word "nothing" to denote Anguish does not refer to anything. So complex, its meaning and its signifier, only the completeness of nothingness can trace its addressing, since nothingness comes with the contingency of an unnameable totality. When we say that everything is present, it is a measure that brings naming from the presence of things; when we talk about nothingness, the impossibility of naming appears, which does not mean unprotected or hollow. This nothingness brings the idea that it is the very lack of something, that is, the absence of a presence. A gap and not a nonexistence, just like the apparent lack of a book on a shelf. This designation is chosen due to its affinity with the concept of Anguish for Jacques Lacan, which is the encounter with the Real. The Real in Lacan is what we cannot have doubt about; it is what always returns to the same place, even if it has no symbolization, no image, for being placed on the level of the traumatic. Thus, when we come into contact with the Real, which is not lack but deprivation, we enter a condition of Anguish. Although Anguish is always due to the presence of the absence of an object, it is characteristic of Anguish not to fill this missing object, as the Real is traumatic and unrepresentable: it cannot be occupied, is unknown to the subject, belongs to the sphere of the unconscious. Human beings have always sought art to mediate their relationship with the world, from prehistory to contemporaneity, because it is through it that we address this need to seek symbolic and imaginary forms to recognize our interaction with life's events. Imprinting what we see and feel to review and re-feel them (appearing here in a positive function) to recognize reality, think about it, and understand it. However, for Lacan, what is on the level of the traumatic has no symbol and no image. Therefore, the lack of representation makes the traumatic unrecognizable, even if existent, making interaction to produce an elucidation about the trauma impossible, keeping the Real at the level of the unconscious. It is cinema, which has this dream-like appearance, that will dialogue with the unconscious, making a performance for Anguish possible. Just as dreams are representations of a castrated subject, cinema can, in this position of light projecting our reality, account for Anguish. If nothingness is the philosophical place where Anguish is situated, in cinema this place will also be nothingness, represented by silence and emptiness. Since there is no image or symbol that can account for representation, time creates this possibility through "empty spaces”. Gilles Deleuze talks about this emptiness that arises from optical-sound image, using the resources of everyday banality, extended time, quietness, and absence. From three films, I exemplify the cinematic emptiness that performs Anguish: Jeanne Dielman by Chantal Akerman, Solaris by Andrei Tarkovsky, and The Eclipse by Michelangelo Antonioni. Concluding that by enabling cinema, we can come into contact with our Anguish, we can realize that it is inherent and significant to life and what makes us subjects, thus reiterating its denial, for it is the refusal of Anguish that leads us increasingly to an alienated life, without agency, subservient to the neoliberal structure. By recognizing our Anguish, we can give due value to life, making us autonomous and free beings to idealize a powerful reality.
There are many concepts surrounding Anguish, a search for a meaning of this feeling that is nothing trivial. It seems to be endowed with a certain nobility in its sense; it is not a feeling like sadness, fear, or pain, which are more obvious feelings, always directly linked to an object. Sadness about something, fear of something, and pain for some reason. Although Anguish can encompass sadness, pain, and fear, they do not define it. Anguish is a constitutive condition of existence; it arises with the very birth of a human. Unavoidable, it is referenced in this dissertation by some philosophers such as Jean-Paul Sartre, Soren Kierkegaard, and Martin Heidegger, choosing the idea of nothingness as the best definition. “What Anguish anguishes about is the 'nothing' that reveals itself 'nowhere” (Heidegger 2005, 250). The meaning of the word "nothing" to denote Anguish does not refer to anything. So complex, its meaning and its signifier, only the completeness of nothingness can trace its addressing, since nothingness comes with the contingency of an unnameable totality. When we say that everything is present, it is a measure that brings naming from the presence of things; when we talk about nothingness, the impossibility of naming appears, which does not mean unprotected or hollow. This nothingness brings the idea that it is the very lack of something, that is, the absence of a presence. A gap and not a nonexistence, just like the apparent lack of a book on a shelf. This designation is chosen due to its affinity with the concept of Anguish for Jacques Lacan, which is the encounter with the Real. The Real in Lacan is what we cannot have doubt about; it is what always returns to the same place, even if it has no symbolization, no image, for being placed on the level of the traumatic. Thus, when we come into contact with the Real, which is not lack but deprivation, we enter a condition of Anguish. Although Anguish is always due to the presence of the absence of an object, it is characteristic of Anguish not to fill this missing object, as the Real is traumatic and unrepresentable: it cannot be occupied, is unknown to the subject, belongs to the sphere of the unconscious. Human beings have always sought art to mediate their relationship with the world, from prehistory to contemporaneity, because it is through it that we address this need to seek symbolic and imaginary forms to recognize our interaction with life's events. Imprinting what we see and feel to review and re-feel them (appearing here in a positive function) to recognize reality, think about it, and understand it. However, for Lacan, what is on the level of the traumatic has no symbol and no image. Therefore, the lack of representation makes the traumatic unrecognizable, even if existent, making interaction to produce an elucidation about the trauma impossible, keeping the Real at the level of the unconscious. It is cinema, which has this dream-like appearance, that will dialogue with the unconscious, making a performance for Anguish possible. Just as dreams are representations of a castrated subject, cinema can, in this position of light projecting our reality, account for Anguish. If nothingness is the philosophical place where Anguish is situated, in cinema this place will also be nothingness, represented by silence and emptiness. Since there is no image or symbol that can account for representation, time creates this possibility through "empty spaces”. Gilles Deleuze talks about this emptiness that arises from optical-sound image, using the resources of everyday banality, extended time, quietness, and absence. From three films, I exemplify the cinematic emptiness that performs Anguish: Jeanne Dielman by Chantal Akerman, Solaris by Andrei Tarkovsky, and The Eclipse by Michelangelo Antonioni. Concluding that by enabling cinema, we can come into contact with our Anguish, we can realize that it is inherent and significant to life and what makes us subjects, thus reiterating its denial, for it is the refusal of Anguish that leads us increasingly to an alienated life, without agency, subservient to the neoliberal structure. By recognizing our Anguish, we can give due value to life, making us autonomous and free beings to idealize a powerful reality.
Descrição
Palavras-chave
Cinema Psicanálise Angústia Lacan Vazio Real Anti-capitalista Trauma Deleuze Mágica Irrepresentável História da arte Solaris Chantal Antonioni Psychoanalysis Anguish Void Anti-capitalist Magic Unrepresentable Art history