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THE TRAGEDY OF MAN AS THEATRUM THEOLOGICUM (A DRAMATURG’S DIARY) you more than myself.” And: it is thanks to you that I can accept myself. The unconditional is a divine attribute in us, and love must be its transformative bodily experience. The shame following the Fall is the sign of an irrevocable injury that love has suffered. Could it be that dolphins “know” more about it than we do? FEBRUARY 19, 2020 The planning ofa production cannot take place independently ofthe company: of course, this is self-evident, we might say — but it really isn’t. The particularly great value of Purcarete’s theater is that he constructs his productions not in an abstract mode; rather, the given company’s skills in the craft become the production’s concrete material. He thinks in terms of ensemble, sustaining the theater’s living traditions. His productions proclaim that there is no artistic theater that is not simultaneously the theater of the poor in spirit. Those firstday messages appearing on the rehearsal board, inviting the entire company to the communal work, are legendary: let those who want to be in the coming production show up the next day for rehearsal. This is also a Purcärete-brand trademark. Measured by the questions raised or merely touched upon in the theater, we are all poor in spirit; heaven does not belong to the geniuses, yet nor to the stupid — but to those who, in the presence of others, look at themselves and who bare themselves. “Blessed are the poor in spirit” — this is the Gospel lesson that can be experienced in the theater. We are always lacking, but that fills us with happiness because the enraptured spirit in us, that is, the creative imagination, cracks through the stone wall. FEBRUARY 20, 2020 The Phalanstery:® molecular gastronomy, the inversion of nouvelle cuisine. In a manner of speaking, it’s a DNA collection. The viewer, as a matter of fact, sees nothing but the stainless-steel vessels in which the scientist mixes various concoctions and has Adam and Lucifer taste them in sequence. The demented 62 Hungarian has two words for love: szerelem, romantic and physical, i.e., amorous, love; and szeretet, the selfless (often misnamed platonic) love of caring and friendship, as well as parental and filial love. The distinction is akin to that between eros and agapé. Translator’s note: In this sentence, Visky uses the first on the first occasion and the second on the second. Note, however, that he expands on the emotional-metaphysical aspects of eros in this paragraph. 6 Mt 5:3. 64 Madäch: Ibid., Scene 12.
