Perhaps we should forget about morality, and think about myth, fantasy, appetite, and desire – everything we can safely enjoy on stage, in fiction, on screen; everything that has to be excluded or at least tempered in the rational everyday lives we try to lead ‘outside’. We could add to this Freud’s argument that what appeals to us about great characters on stage is precisely their enormity. All the sex and violence they commit – all their ‘errors’ – act out for us the desires and fears we have to repress. Of course tragic characters are primitive, barbaric, monstrous. They represent all that we have had to overcome in the cause of culture and civilization.
Sayfa 51
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