For André Techiné
Let us imagine that an affinity of status and history has linked mathematics and acoustics since the ancient Greeks. Let us also imagine that for two or three millennia this effectively Pythagorean space has been somewhat repressed (Pythagoras is indeed the eponymous hero of Secrecy). Finally, let us imagine that from the time of these same Greeks another relationship has been established over against the first and has got the better of it, continually taking the lead in the history of the arts - the relationship between geometry and theatre. The theatre is precisely that practice which calculates the place of things as they are observed: if I set the spectacle here, the spectator will see this; if I put it elsewhere, he will not, and I can avail myself of this masking effect and play on the illusion it provides. The stage is the line which stands across the path of the optic pencil, tracing at once the point at which it is brought to a stop and, as it were, the threshold of its ramification. Thus is founded - against music (against the text) - representation.
Representation is not defined direet1y by imitation: even if one gets rid of notions of the 'real', of the 'vraisemblable', of the 'copy', there will still be representation for so long as a subject (author, reader, spectator or voyeur) casts his gaze towards a horizon on which he cuts out the base of a triangle, his eye (or his mind) forming the apex. The 'Organon of Representation' (which it is today becoming possible to write because there are intimations of something else) will have as its dual foundation the sovereignty of the act of cutting out [découpage] and the unity of the subject of that action. The substance of the various arts will therefore be of little importance; certainly, theatre and cinema are direct expressions of geometry (unless, as rarely, they carry out some research on the voice, on stereophony), but classic (readable) literary discourse, which has for such a long time now abandoned prosody, music, is also a representational, geometrical discourse in that it cuts out segments in order to depict them: to discourse (the classics would have said) is simply 'to depict the tableau one has in one's mind'. The scene, the picture, the shot, the cut-out rectangle, here we have the very condition that allows us to conceive theatre, painting, cinema, literature, all those arts, that is, other than music and which could be called dioptric arts. (Counter-proof: nothing permits us to locate the slightest tableau in the musical text, except by reducing it to a subservience to drama; nothing permits us to cut out in it the slightest fetish, except by debasing it through the use of trite melodies.)
As is well known, the whole of Diderot's aesthetics rests on the identification of theatrical scene and pictorial tableau: the perfect play is a succession of tableaux, that is, a gallery, an exhibition; the stage offers the spectator 'as many real tableaux as there are in the action moments favourable to the painter'. The tableau (pictorial, theatrical, literary) is a pure cut-out segment with clearly defined edges, irreversible and incorruptible; everything that surrounds it is banished into nothingness, remains unnamed, while everything that it admits within its field is promoted into essence, into light, into view. Such demiurgic discrimination implies high quality of thought: the tableau is intellectual, it has something to say (something moral, social) but it also says that it knows how this must be done; it is simultaneously significant and propaedeutical, impressive and reflexive, moving and conscious of the channels of emotion. The epic scene in Brecht, the shot in Eisenstein are so many tableaux; they are scenes which are laid out (in the sense in which one says the table is laid), which answer perfectly to that dramatic unity theorized by Diderot: firmly cut out (remember the tolerance shown by Brecht with regard to the Italian curtain-stage, his contempt for indefinite theatres - open air, theatre in the round), erecting a meaning but manifesting the production of that meaning, they accomplish the coincidence of the visual and the ideal découpages. Nothing separates the shot in Eisenstein from the picture by Greuze (except, of course, their respective projects: in the latter moral, in the former social); nothing separates the scene in epic theatre from the Eisenstein shot (except that in Brecht the tableau is offered to the spectator for criticism, not for adherence).
Is the tableau then (since it arises from a process of cutting out) a fetish-object? Yes, at the level of the ideal meaning (Good, Progress, the Cause, the triumph of the just History); no, at that of its composition. Or rather, more exactly, it is the very composition that allows the displacement of the point at which the fetish comes to a halt and thus the setting further back of the loving effect of the découpage. Once again, Diderot is for us the theorist of this dialectic of desire; in the article on 'Composition', he writes: 'A well-composed picture [tableau] is a whole contained under a single point of view, in which the parts work together to one end and form by their mutual correspondence a unity as real as that of the members of the body of an animal; so that a piece of painting made up of a large number of figures thrown at random on to the canvas, with neither proportion, intelligence nor unity, no more deserves to be called a true composition than scattered studies of legs, nose and eyes on the same cartoon deserve to be called a portrait or even a human figure.' Thus is the body expressly introduced into the idea of the tableau, but it is the whole body that is so introduced - the organs, grouped together and as though held in cohesion by the magnetic power of the segmentation, function in the name of a transcendence, that of the figure, which receives the full fetishistic load and becomes the sublime substitute of meaning: it is this meaning that is fetishized. (Doubtless there would be no difficulty in finding in post-Brechtian theatre and post-Eisensteinian cinema mises en scene marked by the dispersion of the tableau, the pulling to pieces of the 'composition', the setting in movement of the 'partial organs' of the human figure, in short the holding in check of the metaphysical meaning of the work - but then also of its political meaning; or, at least, the carrying over of this meaning towards another politics).
Brecht indicated clearly that in epic theatre (which proceeds by successive tableaux) all the burden of meaning and pleasure bears on each scene, not on the whole. At the level of the play itself, there is no development, no maturation; there is indeed an ideal meaning (given straight in every tableau), but there is no final meaning, nothing but a series of segmentations each of which possesses a sufficient demonstrative power. The same is true in Eisenstein: the film is a contiguity of episodes, each one absolutely meaningful, aesthetical1y perfect, and the result is a cinema by vocation anthological, itself holding out to the fetishist, with dotted lines, the piece for him to cut out and take away to enjoy (isn't it said that in some cinémathèque or other a piece of film is missing from the copy of Battleship Potemkin - the scene with the baby's pram, of course _ it having been cut off and stolen lovingly like a lock of hair, a glove or an item of women's underwear?). The primary force of Eisenstein is due to the fact that no image is boring, you are not obliged to wait for the next in order to understand and be delighted; it is a question not of a dialectic (that time of the patience required for certain pleasures) but of a continuous jubilation made up of a summation of perfect instants.
Naturally, Diderot had conceived of this perfect instant (and had given it thought). In order to tell a story, the painter has only an instant at his disposal, the instant he is going to immobilize on the canvas, and he must thus choose it well, assuring i t in advance of the greatest possible yield of meaning and pleasure. Necessarily total, this instant will be artificial (unreal; this is not a realist art), a hieroglyph in which can be read at a single glance (at one grasp if we think in terms of theatre and cinema) the present, the past and the future; that is, the historical meaning of the represented action. This crucial instant, totally concrete and totally abstract, is what Lessing subsequently calls (in the Laocoon) the pregnant moment. Brecht's theatre, Eisenstein's cinema are series of pregnant moments: when Mother Courage bites on the coin offered by the recruiting sergeant and, as a result of this brief interval of distrust, loses her son, she demonstrates at once her past as tradeswoman and the future that awaits her - all her children dead in consequence of her money-making blindness. When (in The General Line) the peasant woman lets her skirt be ripped up for material to help in repairing the tractor, the gesture bears the weight of a history: its pregnancy brings together the past victory (the tractor bitterly won from bureaucratic incompetence), the present struggle and the effectiveness of solidarity. The pregnant moment is just this presence of all the absences (memories, lessons, promises) to whose rhythm History becomes both intelligible and desirable.
In Brecht, it is the social gest which takes up the idea of the pregnant moment. What then is a social gest (how much irony has reactionary criticism poured on this Brechtian concept, one of the clearest and most intelligent that dramatic theory has ever produced!)? It is a gesture or set of gestures (but never a gesticulation) in which a whole social situation can be read. Not every gest is social: there is nothing social in the movements a man makes in order to brush off a fly; but if this same man, poorly dressed, is struggling against guard-dogs, the gest becomes social. The action by which the canteen-woman tests the genuineness of the money offered is a social gest; as again is the excessive flourish with which the bureaucrat of The General Line signs his official papers. This kind of social gest can be traced even in language itself. A language can be gestual, says Brecht, when it indicates certain attitudes that the speaker adopts towards others: 'If thine eye offend thee, pluck it out' is more gestual than 'Pluck out the eye that offends thee' because the order of the sentence and the asyndeton that carries it along refer to a prophetic and vengeful situation. Thus rhetorical forms may be gestual, which is why it is pointless to criticize Eisenstein's art (as also that of Brecht) for being 'formalizing' or 'aesthetic': form, aesthetic, rhetoric can be socially responsible if they are handled with deliberation. Representation (since that is what we are concerned with) has inescapably to reckon with the social gest; as soon as one 'represents' (cuts out, marks off the tableau and so discontinues the overall totality), it must be decided whether the gesture is social or not (when it refers not to a particular society but to Man).
What does the actor do in the tableau (the scene, the shot)? Since the tableau is the presentation of an ideal meaning, the actor must present the very knowledge of the meaning, for the latter would not be ideal if it did not bring with it its own machination. This knowledge which the actor must demonstrate - by an unwonted supplement - is, however, neither his human knowledge (his tears must not refer simply to the state of feeling of the Downcast) nor his knowledge as actor (he must not show that he knows how to act well). The actor must prove that he is not enslaved to the spectator (bogged down in 'reality', in 'humanity'), that he guides meaning towards its ideality - a sovereignty of the actor, master of meaning, which is evident in Brecht, since he theorized it under the term 'distanciation'. It is no less evident in Eisenstein (at least in the author of The General Line which is my example here), and this not as a result of a ceremonial, ritual art - the kind of art called for by Brecht - but through the insistence of the social gest which never ceases to stamp the actors' gestures (fists clenching, hands gripping tools, peasants reporting at the bureaucrat's reception-desk). Nevertheless, it is true that in ç Eisenstein, as in Greuze (for Diderot an exemplary painter), the actor does sometimes adopt expressions of the most pathetic quality, a pathos which can appear to be very little 'distanced'; but distanciation is a properly Brechtian method, vital to Brecht because he represents a tableau for the spectator to criticize; in the other two, the actor does not necessarily have to distance: what he has to present is an ideal meaning and it is sufficient therefore that he 'bring out' the production of this value, that he render it tangible, intellectually visible, by the very excess of the versions he gives it; his expression then signifies an idea - which is why it is excessive - not some natural quality. All this is a far cry from the facial affectations of the Actors' Studio, the much praised 'restraint' of which has no other meaning than its contribution to the personal glory of the actor (witness in this respect Brando's grimacings in The Last Tango in Paris).
Does the tableau have a subject (a topic)? Nowise; it has a meaning, not a subject. The meaning begins with the social gest (with the pregnant moment); outside of the gest, there is only vagueness, insignificance. 'In a way,' writes Brecht, 'subjects always have a certain naivety, they are somewhat lacking in qualities. Empty, they are in some sort sufficient to themselves. Only the social gest (criticism, strategy, irony, propaganda, etc.) introduces the human element.' To which Diderot adds (if one may put it like that): the creation of the painter or the dramatist lies not in the choice of the subject but in the choice of the pregnant moment, in the choice of the tableau. It matters little, after all, that Eisenstein took his 'subjects' from the past history of Russia and the Revolution and not - 'as he should have done' (so say his censors today) - from the present of the construction of socialism (except in the case of The General Line); battleship or czar are of minor importance, are merely vague and empty 'subjects', what alone counts is the gest, the critical demonstration of the gesture, its inscription - to whatever period it may belong - in a text the social machination of which is clearly visible: the subject neither adds nor subtracts anything. How many films are there now 'about' drugs, in which drugs is the 'subject'? But this is a subject that is hollow; without any social gest, drugs are insignificant, or rather, their significance is simply that of an essential nature - vague, empty, eternal: 'drugs lead to impotence' (Trash), 'drugs lead to suicide' (Absences répétées). The subject is a false articulation: why this subject in preference to another? The work only begins with the tableau, when the meaning is set into the gesture and the co-ordination of gestures. Take Mother Courage: you may be certain of a misunderstanding if you think that its 'subject' is the Thirty Years War, or even the denunciation of war in general; its gest is not there, but in the blindness of the tradeswoman who believes herself to live off war only, in fact, to die of it; even more, the gest lies in the view that I, spectator, have of this blindness.
In the theatre, in the cinema, in traditional literature, things are always seen from somewhere. Here we have the geometrical foundation of representation: a fetishist subject is required to cut out the tableau. This point of meaning is always the Law: law of society, law of struggle, law of meaning. Thus all militant art cannot but be representational, legal. In order for representation to be really bereft of origin and exceed its geometrical nature without ceasing to be representation, the price that must be paid is enormous - no less than death. In Dreyer's Vampyr, as a friend points out, the camera moves from house to cemetery recording what the dead man sees: such is the extreme limit at which representation is outplayed; the spectator can no longer take up any position, for he cannot identify his eye with the closed eyes of the dead man; the tableau has no point of departure, no support, it gapes open. Everything that goes on before this limit is reached (and this is the case of the work of Brecht and Eisenstein) can only be legal: in the long run, it is the Law of the Party which cuts out the epic scene, the filmic shot; it is this Law which looks, frames, focusses, enunciates. Once again Eisenstein and Brecht rejoin Diderot (promoter of bourgeois domestic tragedy, as his two successors were the promoters of a socialist art). Diderot distinguished in painting major practices, those whose force is cathartic, aiming at the ideality of meaning, from minor practices, those which are purely imitative, anecdotal - the difference between Greuze and Chardin. In other words, in a period of ascendency every physics of art (Chardin) must be crowned with a metaphysics (Greuze). In Brecht, in Eisenstein, Chardin and Greuze co-exist (more complex, Brecht leaves it to his public to be the Greuze of the Chardin he sets before their eyes). How could art, in a society that has not yet found peace, cease to be metaphysical? that is, significant, readable, representational? fetishist? When are we to have music, the Text?
It seems that Brecht knew hardly anything of Diderot (barely, perhaps, the Paradoxe sur le comédien). He it is, however, who authorizes, in a quite contingent way, the tripartite conjuncture that has just been proposed. Round about 1937, Brecht had the idea of founding a Diderot Society, a place for pooling theatrical experiments and studies -, doubtless because he saw in Diderot, in addition to the figure of a great materialist philosopher, a man of the theatre whose theory aimed at dispensing equal1y pleasure and instruction. Brecht drew up the programme for this Society and produced a tract which he contemplated sending out. To whom? To Piscator, to Jean Renoir, to Eisenstein.
