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<center>"'''The Organization of Appearances'''"</center>

<center>"'''The Organization of Appearances'''"</center>

The organization of appearances is a system for protecting the facts. A racket. lt represents the facts in a mediated reality to prevent them emerging in unmediated form. Unitary power organized appearances as myth. Fragmentary power organizes appearances as spectacle. Challenged, the coherence of myth became the myth of coherence. Magnified by history, the incoherence of the spectacle turns into the spectacle of incoherence (eg, pop art, a contemporary form of consumable putrefaction, is also an expression of the contemporary putrefaction of consumption) (1). The poverty of 'the drama' as a literary genre goes hand in hand with the colonization of social space by theatrical attitudes. Enfeebled on the stage, theatre battens on to everyday life and attempts to dramatize everyday behaviour. Lived experience is poured into the moulds of roles. The job of perfecting roles has been turned over to experts (2).

The organization of appearances is a system for protecting the facts. A racket. lt represents the facts in a mediated reality to prevent them emerging in unmediated form. Unitary power organized appearances as myth. Fragmentary power organizes appearances as spectacle. Challenged, the coherence of myth became the myth of coherence. Magnified by history, the incoherence of the spectacle turns into the spectacle of incoherence (eg, pop art, a contemporary form of consumable putrefaction, is also an expression of the contemporary putrefaction of consumption) (1). The poverty of 'the drama' as a literary genre goes hand in hand with the colonization of social space by theatrical attitudes. Enfeebled on the stage, theatre battens on to everyday life and attempts to dramatize everyday behaviour. Lived experience is poured into the moulds of roles. The job of perfecting roles has been turned over to experts (2).

With the advent of drama human society replaces the gods on the stage. Now, although it is true that nineteenth-century theatre was merely one form of entertainment among others, we must not let this obscure the much more important fact that during this period theatre left the theatre, so to speak, and colonized the entire social arena. The cliché which likens life to a drama seems to evoke a fact so obvious as to need no discussion. So widespread is the confusion between play-acting and life that it does not even occur to us to wonder why it exists. Yet what is 'natural' about the fact that I stop being myself a hundred times a day and slip into the skin of people whose concerns and importance I have really not the slightest desire to know about? Not that I might not choose to be an actor on occasion--to play a role for diversion or pleasure. But this is not the type of role-playing I have in mind. The actor supposed to play a condemned man in a realist play is at perfect liberty to remain himself: herein lies, in fact, the paradox of fine acting. But this freedom that he enjoys is contingent upon the fact that this "condemned man" is in no danger of feeling a real hangman's noose about his neck. The roles we play in everyday life, on the other hand, soak into the individual, preventing him from being what he really is and what he really wants to be. They are nuclei of alienation embedded in the flesh of direct experience. The function of such stereotypes is to dictate to each person on an individual, even 'intimate', level the same things which ideology imposes collectively.

With the advent of drama human society replaces the gods on the stage. Now, although it is true that nineteenth-century theatre was merely one form of entertainment among others, we must not let this obscure the much more important fact that during this period theatre left the theatre, so to speak, and colonized the entire social arena. The cliché which likens life to a drama seems to evoke a fact so obvious as to need no discussion. So widespread is the confusion between play-acting and life that it does not even occur to us to wonder why it exists. Yet what is 'natural' about the fact that I stop being myself a hundred times a day and slip into the skin of people whose concerns and importance I have really not the slightest desire to know about? Not that I might not choose to be an actor on occasion--to play a role for diversion or pleasure. But this is not the type of role-playing I have in mind. The actor supposed to play a condemned man in a realist play is at perfect liberty to remain himself: herein lies, in fact, the paradox of fine acting. But this freedom that he enjoys is contingent upon the fact that this "condemned man" is in no danger of feeling a real hangman's noose about his neck. The roles we play in everyday life, on the other hand, soak into the individual, preventing him from being what he really is and what he really wants to be. They are nuclei of alienation embedded in the flesh of direct experience. The function of such stereotypes is to dictate to each person on an individual, even 'intimate', level the same things which ideology imposes collectively.

[[Category: Revolution of Everyday Life]]

[[Category: Revolution of Everyday Life]]