Summary
*see dramlit 2007 : part I : antiquity : the greeksThebes, the native city of Dionysus and a center of his cult, is also close to the central oracle of Apollo at Delphi.
Questions
Oedipus suffers because he is a great human being. Yes, he makes an error, but it is his greatness as a human being which leads him into this error. That word error is important. It comes from Aristotle's concept of hamartia, that characteristic of the tragic hero which leads to his destruction. This phrase is often translated as "tragic flaw." And that translation has unfortunately encouraged the moralizing tendency, because the word "flaw" suggests some corrigible moral error, some sin, which he shouldn't have done.
Pasolini on Pasolini: "I wanted to make the film freely.... I had two objectives: first, to make a kind of completely metaphoric – and therefore mythicized – autobiography; and second to confront both the problems of psycho-analysis and the problem of the myth." (In the half hour documentary on Pasolini included on the DVD, one section is devoted to a concise examination of his views on this film.)
Pasolini noted in his book Edipo re (Oedipus Rex), published simultaneously with the release of the film in 1967.
Notes
Sophocles (c.496 B.C.–406 B.C.) Oedipus the King. The Harvard Classics. 1909–14.Introductory Note
SOPHOCLES, the most perfectly balanced among the three great masters of Greek tragedy, was born in Colonus, near Athens, about 495 B. C. His father was a man of wealth, and the poet received the best education of the time, being especially distinguished in music. He began his career as a PARAtist at the age of twenty-seven, when he gained a victory over Æschylus; and from that time till his death in 405 B. C. he retained the foremost place as a writer of tragedy. Like a true Greek, he played his part in public affairs, both in peace and in war, and served his country as a diplomat and as a general. He was profoundly admired by his contemporaries for character as well as genius, and after his death was honored as a hero with annual sacrifices. His son, Iophon, and his grandson, Sophocles, both gained distinction as tragic poets.
[1] Besides lyrics, elegies, and epigrams, Sophocles is said to have composed upward of one hundred and twenty plays, one hundred of which are known by name, but only seven have come down to us entire. These are the “Trachiniæ,” dealing with the death of Heracles; “Ajax,” “Philoctetes,” “Electra,” “Œdipus Rex,” “Œdipus at Colonus,” and Antigone.”
[2] The development of tragedy by Æschylus was continued by Sophocles, who introduced a third actor and, later, a fourth; reduced still further the importance of the chorus, and elaborated the costumes of the players. He did not, like Æschylus, write trilogies which carried one story through three plays, but made each work complete in itself. The art of clear and full characterization was carried to a pitch of perfection by him, the figures in the plays of Eschylus being in comparison rather drawings in outline, while those of Euripides are frequently direct transcripts from real life, without the idealization given by Sophocles. With his restraint, his balance, his clearness of vision, his aptness in the fitting of means to ends, and the beauty of his style, he stands as the most perfect example in literature of the characteristic excellences of the Greek artist. In the two PARAs here given will be found illustrations of these qualities at their highest.
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Pacino Eyes Oedipus, February 3, 2000
If you thought the family tragedies in The Godfather were high drama, then have we got a topper for you. Three-time Michael Corleone portrayer Al Pacino is eyeing (pun intended) a run at the ultimate Greek tragedy, Oedipus Rex.
The Sophocles drama tells the tale of the doomed Theban king who kills his father, marries his mother, and then puts out his own eyes on discovering this horrific chain of events. Coincidentally, Pacino's Insider co-star, Christopher Plummer, played the doomed king in a 1968 film.
Pacino's previous stage efforts include Shakespeare's Richard III (which led to his producing, starring in, and directing the 1996 film Looking for Richard).
Actress Estelle Parsons (Bonnie and Clyde) is directing the play, which she hopes to open at an off-Broadway venue in a few months.
Mary Beth Hurt (Bringing Out the Dead) and two-time Oscar winner Dianne Wiest have been alternating in the role of Jocasta, Oedipus' mother, with Edward Herrmann (Nixon) and David Strathairn (Limbo) each playing Creon, his uncle.
Also in on the rehearsals are B.D. Wong (Seven Years in Tibet) as the chorus and Earle Hyman (Bill Cosby's dad on The Cosby Show) as Tiresias the blind seer.
"We hope for it to be a commercial run. But we're not quite sure when these [actors] will have the time to do it," Parsons says.
If the commercial run doesn't materialize, Parsons acknowledges that Oedipus Rex may be staged as a special evening at the Actor's Studio, where she is artistic director.
"People want to tackle this material," she says. "Everyone has been very interested to work on it, with no end in sight - for the fun of it, like working out in a gymnasium."
The venue is of particular importance to the future of this production, Parsons says. "We want a space like the Actor's Studio, which is an old church. We're looking for something like that."
She is using poet W.B. Yeats' version of the play, the same English translation heard on Broadway when Laurence Olivier starred in the Old Vic's production of Oedipus Rex in 1946, with Ralph Richardson as Tiresias.
[ Reuters contributed to this story. ]
The Oedipus complex is a concept developed by Sigmund Freud, who was inspired by Carl Jung (he described the concept and coined the term "complex"), to explain the maturation of the infant through identification with the father and desire for the mother.
It is based on the Greek myth of Oedipus who kills his father Laius and marries his mother Jocasta. The Oedipus conflict or Oedipus complex was described as a state of psychosexual development and awareness first occurring around the age of 3 and a half years (a period of development known as the genital stage in Freudian theory).
Theory of the Oedipus Complex: Relying on material from his self-analysis and on anthropological studies of totemism, Freud developed the Oedipus complex as an explanation of the formation of the ego, the super-ego and the id. The traditional paradigm in a (male) child’s psychological coming-into-being is to first select the mother as the object of libidinal investment. This however arouses the father's anger, and the infant surmises that the most probable form of this is castration.
The infant internalizes the rules pronounced by his father. This is how the super-ego comes into being. The father now becomes the figure of identification as the child wants to have his phallus, but resigns from his attempts to take the mother, shifting his libidinal attention to new objects of desire.
Carl Gustav Jung claimed that young girl's desire is for the father, known as the Electra complex, which is basically a reverse Oedipus complex. This is often falsely ascribed to Freud. In fact it aroused Freud's anger for he had more complex construction of the female Oedipal complex: The girl is originally attached to the mother as well, however the discovery of the absence of a penis leads to an anger at the mother, who is held responsible. She therefore turns her libidinal attachment on to the father and imagines that she will become pregnant by him. She believes that the pregnancy will replace the missing penis, which she envies and will allow her to gain equal status with the father.
French psychoanalyst Jacques Lacan refined this very crude theory in his linguistic theories. He claimed that the position of the father could never be held by the infant. On the one hand the infant must identify with the father, in order to participate in sexual relations. However the infant could also never become the father as this would imply sexual relations with the mother. Through the dictates on the one hand to be the father and on the other not to, the father is elevated to an ideal. He is no longer a real material father, but a function of a father. Lacan terms this the Name-of-the-Father. The same goes for the mother — Lacan no longer talks of a real mother, but simply of desire, which is a desire to return to the undifferentiated state of being together with the mother, before the interference through the Name-of-the-Father.
This desire necessarily lacks something, i.e. it is a desire of lack. The father and accordingly the phallus (not a real penis, but a representation of mastery) can never be reached, thus he is above or outside the language system and cannot be spoken about. All language relies on this absence of the phallus from the system of signification. According to this theory, without a phallus outside of language, nothing in language would make sense or could be differentiated. Thus Lacan remodels the linguistic theory of Swiss linguist Ferdinand de Saussure. It is this idea that forms the basis of much contemporary thought, especially poststructuralism. Nothing can be thought that is outside of language, but the phallus is there and therefore structures the whole system of thought accordingly.
Critiques of the Oedipus Complex:
Popular culture often seeks to portray Freud as a pervert and proclaim his theory of the Oedipus Complex utter nonsense. However, considering the tenacious hold it seems to have over our cultural imagination, this seems a rather simplistic way to attack the Oedipus Complex, especially with the interesting refinements added through new generations of psychoanalysts. However there were also always a great deal of critiques of the Oedipus complex within psychoanalysis and among philosophers who acquainted themselves with the work of Freud.
Alfred Adler contended with Freud's belief in the dominance of the sex drive and whether ego drives were libidinal, he also attacked Freud's ideas over repression. Adler believed that the repression theory should be replaced with the concept of ego-defensive tendencies - the neurotic state derived from inferiority feelings and overcompensation of the masculine protest, Oedipal complexes were insignificant.
Feminist theory has mostly rejected Freud's concept of penis envy, either by dismissing psychoanalysis as a project of masculine mastery, by essentializing femininity thus reclaiming difference as an asset, by using psychoanalysis and simply ignoring it, for example by adopting a version of the Electra Complex or an alternative identificatory pattern (e.g. Hélène Cixous) or by adopting / developing more progressive rereadings of Freud, like those of Jacques Lacan (e.g. Juliet Mitchell, Jacqueline Rose and Judith Butler).
Philosophers Michel Foucault and Gilles Deleuze, along with radical psychoanalyst Félix Guattari, have used their work to show how internalized power structures are a function of the world order we live in, bent on disciplining the subject. Discipline is meant by Foucault in both its senses, arguing that the science of man has created its own object, relying on Friedrich Nietzsche's concept of the will to power. According to this theory the Oedipus Complex can only arise historically under certain conditions.
Deleuze and Guattari in Anti-Oedipus: Capitalism and Schizophrenia (pt.1) apply this to the dissemination of Freud's Oedipus Complex, which they call Oedipalization. They believe that the capitalist system and psychoanalysis as its tool rely on making people believe in a father, who is more powerful than them and has a phallus, which will always be unobtainable for them. Their idea is that the family structure is the smallest unit of this subjection because now power does not come from a central force like God or a monarch, but is spread over small power units which keep people in submission. Therefore they assume a system of pure immanence without an outside. They believe psychoanalysis is intent on producing neuroses while the capitalist system is really inherently schizophrenic. They propose an escape through anoedipal structures, relying on psychoanalyst Melanie Klein's concept of partial objects and proposing non-centered schizophrenia as a tendency to strive for, displacing psychoanalysis for schizoanalysis.
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