The Intellectual and His People: Staging the People Volume 2
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Following the previous volume of essays by Jacques Rancière from the 1970s, Staging the People: The Proletarian and His Double, this second collection focuses on the ways in which radical philosophers understand the people they profess to speak for. The Intellectual and His People engages in an incisive and original way with current political and cultural issues, including the “discovery” of totalitarianism by the “new philosophers,” the relationship of Sartre and Foucault to popular struggles, nostalgia for the ebbing world of the factory, the slippage of the artistic avant-garde into defending corporate privilege, and the ambiguous sociological critique of Pierre Bourdieu. As ever, Rancière challenges all patterns of thought in which one-time radicalism has become empty convention.
if the means were at hand, to stage at the same time Britannicus at Montparnasse, Le Prophète at the Gobelins, La Closerie des Genêts at Grenelle, and La Mascotte at Belleville. For fifty years, he said, ‘families have handed down their numbered seats at Belleville and the Gobelins; they’re not going to change this’.71 Unless these theatres fell victim to the monopolies and were forced to give way to the competition that slowly transformed the majority of them in the popular districts and
state, the city and the court, which would flood France with the productions of good taste: plays entrusted to the best writers, actors, directors and designers who would define the centre of conversation and the canons of fashion with twenty exemplary productions in Paris which would then be exported to the provinces; reproductions of Raphael, Leonardo, Murillo or Gros distributed right down to the most wretched hamlets; calendars drawn by Daumier and Gavarni, engravings by Vernet or Decamps,
remain: does the Braga demonstrators’ opposition to the Portuguese Communist Party represent the full reality of the struggle of the plebs against power? A struggle against the dictatorships of tomorrow? That seems a trifle hasty, given how long the previous dictatorship lasted. Have the old ruling classes, their police and profiteers, melted away so quickly after half a century of the Salazar regime? Are there not among those opposing the Communists’ seizure of press and unions some people who
Leo, Power of Darkness 31 Tournel, Jacques 49n Trente ans de théâtre 15 The Life and Opinions of Tristram Shandy Gentleman (Sterne) 131 Trocadéro, the 38, 39–40 Trotsky, Leon 110 United States of America 121 cultural imperialism 58, 64–65 Université Populaire 32 Valeurs Actuelles 100 Victor, Pierre 89 Vietnam War 43, 49, 120 Vilar, Jean 3 Vincennes 76–77 Viollet-le-Duc 15 Virgil 13 visual artists, unionization 48–59 Wagner, Richard 17, 18, 20, 31 Weber, Max 155, 156–57, 157–60
theatre was once more the site of this encounter, this was not by virtue of its powers of communion. On the contrary, it was because the theatre, invaded by bourgeois digestions and distractions, was the profaned temple of the beautiful, and its ceremonial vocation had to be restored. The people would serve there in the first instance as vestal guardians of the cult. And the model for this role was supplied precisely not by the public’s participation in the theatre, but rather by their silence in