Come on in, Brecht

What is Epic Theater? Illuminations Walter Benjamin

The Interruption

It is now clear that when Benjamin asks what is epic theater he is rhetorical. He knows what it is and Brecht is it's figure head. In this section we notice a theme from past essays--particularly the one where he collects books. I'm not sure why this section is called the 'interruption' but Benjamin favors a story in which one reflects on instances of plot rather than emphasise emotionally with characters in the story.

A developing current of rationalism which is curious because Benjamin has been described to me as a marxist and lover of myth. He even uses the word alienation and this seems in line with the dispassionate coupling of numeric value to the exchange of goods. Certainly myth involves this deep identification with something that is human that almost goes without explanation or value.

Benjamin's relationship to a story does not seem to be familiarity but intense observation that is brought about by considering something from outside oneself.

And based on how Benjamin trounces through this essay these observations can be fleeting and don't have to agree. For instance in the previous section he was relating how classical literature possessed epic theater but now in this section takes a philosopher from that period and delclares Brecht, illuminator of epic theater, goes beyond Aristotle and his 'empathy with the stirring of fate'.

Now I am at a familiar impasse with Benjamin's writing. I seem to find it a little distasteful but after reading it and observing life, I feel like it's a merited observation and perhaps a little something I've always done but not conscious of it because I find it distasteful. But this way of thinking does seem to be haunting and related to anxiety. And partially I feel my impasse is the very thing being described and now I'm cross eyed. But at this point it's hard to reconcile how a mind can be opposed to newspapers while at the same time championing a style of writing that turns people into reporters.

Benjamin seems to be set up as a film noir sleuth. He has this dedication rational clues and has this energy that propels him but in a way that is disguised and only revealed to use when he's ready. It is uncertain if he will meet a chance love in his search and if that will cause any trouble.

Xenia Imagines Philostratus

Xenia is the term for hospitality in greek but here there are no people. It is just a landscape but one that is breaming with delectable food. The fruit is presenting itself to us and practically eats itself on our behalf. Not only is there fruit budding in the peak of it's deliciousness there is promise of more fruit still becoming. But we are in a state of just viewing this unpicked paradise and also encouraged to partake.

This sense of pleasure and welcomening seems to contrast starkly to film noir hospitality where the action of the plot activates as a guest stops by to rent a room. This character is often confused with a murderer or is the murderer. Instead of this image that appeals to our appetites we are left with terror and uncertainty. The sense of welcoming or terror stems from either excepting someone in a way that is overwhelmingly part of us or othering them and making them opposite of us.