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Publicação
Arendt e Lubitsch: A Comédia do Mal
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Orientador(es)
Resumo(s)
Esta dissertação pretende mostrar como o tratamento do fenómeno do mal referido
concretamente ao nazismo se deixa compreender melhor através de uma análise que
evidencia o ridículo e o cómico dos seus protagonistas. Esta hipótese encontra fundamento na
valorização dos aspetos contrastantes entre as nossas expectativas sobre como devem ser as
coisas, fruto de um juízo moral, e como estas aparecem para um espectador capaz de as
compreender sem esse juízo moral antecipado. Esta abordagem é estética e ética, pois isola os
mecanismos teatrais presentes na experiência de ver e dar a ver que encontramos expostos de
forma implícita nas duas obras que são objeto referencial deste trabalho: Eichmann em
Jerusalém de Hannah Arendt e o filme To Be or Not to Be de Ernst Lubitsch. A expressão
“banalidade do mal” configura a metáfora desta nova forma de mal exposta na sua
vulgaridade por oposição à dimensão do seu efeito excecional no mundo, pretende-se deste
modo, não só julgar um fenómeno novo como encontrar uma linguagem que o desoculte e
anule o seu poder. Essa linguagem é a ironia que retira aos protagonistas do mal qualquer
forma de grandeza demonstrando para a História que o mal absoluto pode ser efetuado por
homens superficiais e sem qualquer traço de carácter relevante.
This dissertation aims to show how the treatment of the phenomenon of evil specifically referred to Nazism is better understood through an analysis that highlights the ridiculousness and the comicity of its protagonists. This analysis is grounded on the valorization of the contrasting aspects between our expectations about how things ought to be, these resulting from a moral judgment, and how they are to a spectator who is able to see them as they appear in their normality. This is an aesthetic and ethical approach, since it isolates the theatrical mechanisms present in the experience of seeing and of revealing that we find implicitly exposed in the two works that are referential to this dissertation: Hannah Arendt’s Eichmann in Jerusalem and Ernst Lubitsch’s To Be or Not to Be. The phrase "the banality of evil" sets the metaphor of this new form of evil exposed in its vulgarity as opposed to the size of its outstanding effect on the world. The aim is thus not only to judge a new phenomenon, but also to find a language that uncovers and annuls its power. That language is the irony that removes from the protagonists of evil any form of greatness showing that absolute evil can be performed by shallow people devoid of any significant character trait.
This dissertation aims to show how the treatment of the phenomenon of evil specifically referred to Nazism is better understood through an analysis that highlights the ridiculousness and the comicity of its protagonists. This analysis is grounded on the valorization of the contrasting aspects between our expectations about how things ought to be, these resulting from a moral judgment, and how they are to a spectator who is able to see them as they appear in their normality. This is an aesthetic and ethical approach, since it isolates the theatrical mechanisms present in the experience of seeing and of revealing that we find implicitly exposed in the two works that are referential to this dissertation: Hannah Arendt’s Eichmann in Jerusalem and Ernst Lubitsch’s To Be or Not to Be. The phrase "the banality of evil" sets the metaphor of this new form of evil exposed in its vulgarity as opposed to the size of its outstanding effect on the world. The aim is thus not only to judge a new phenomenon, but also to find a language that uncovers and annuls its power. That language is the irony that removes from the protagonists of evil any form of greatness showing that absolute evil can be performed by shallow people devoid of any significant character trait.
Descrição
Palavras-chave
Mal Banalidade Ironia Comédia Nazismo Teatralidade Eichmann Julgamento Espectador Evil Banality Irony Comedy Nazism Theatricality Eichmann Trial Spectator