Entre antigos e modernos: a teoria da tragédia de Friedrich Schiller
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Data
2022-09-30
Autores
Vido, Isabella Gonçalves
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Universidade Estadual Paulista (Unesp)
Resumo
Este trabalho pretendeu investigar as reflexões acerca das artes trágicas que o poeta e pensador alemão Friedrich Schiller (1759-1805) desenvolveu nos anos iniciais de seu “gabinete filosófico”. Após situá-las nos debates respeitantes à formação do teatro nacional alemão dos fins do século XVIII, pudemos reconhecê-las como a resposta do autor à chamada “querelle des anciens et des modernes”. Debruçamo-nos sobre a teoria schilleriana da tragédia com a intenção de compreendê-la nos termos de uma dupla fidelidade do autor tanto aos antigos – entendidos como os gregos, fundamentalmente –, quanto aos modernos – desta vez, referimo-nos sobretudo à Crítica da faculdade de julgar (1790) de Immanuel Kant. Foi possível constatar que na medida em que a teoria schilleriana da tragédia emprestou o conceito kantiano do sublime, identificando-o com o trágico e com a tragédia, tornou-se a primeira “filosofia do trágico”. No entanto, uma vez que as reflexões de Schiller sobre as artes trágicas também se dedicaram às implicações da referida relação para a composição teatral, configuraram, a um só tempo, uma “poética da tragédia” que se indagou a respeito da esfera de afetos que a tragédia deveria produzir.
This work aimed to investigate Friedrich Schiller’s essays about tragic arts, written during the first years of his philosophical retreat. After considering them relatively to the discussions on the formation of German national theatre dating from the end of 18th century, we could state that they can be seen as the author’s reply to the socalled “querelle des anciens et des modernes”. We dedicated to Schiller’s theory of tragedy hoping to understand it according to the author’s attitude of double loyalty both to the “anciens” – understood fundamentally as the Greek authors – and to the “modernes” – referring above all to Immanuel Kant’s Critique of Judgement (1790). We could realise that, since Schiller’s theory of tragedy dealt with Kantian concept of the sublime, relating it to the tragic and to the tragedy, it can be considered the first “philosophy of tragic”. However, as Schiller’s thoughts on tragic arts also dealt with the practical consequences of the relation we have just mentioned for the composition of theatrical texts, they can be simultaneously seen as a “poetics of tragedy” which asked questions about the affections that tragedies should produce.
This work aimed to investigate Friedrich Schiller’s essays about tragic arts, written during the first years of his philosophical retreat. After considering them relatively to the discussions on the formation of German national theatre dating from the end of 18th century, we could state that they can be seen as the author’s reply to the socalled “querelle des anciens et des modernes”. We dedicated to Schiller’s theory of tragedy hoping to understand it according to the author’s attitude of double loyalty both to the “anciens” – understood fundamentally as the Greek authors – and to the “modernes” – referring above all to Immanuel Kant’s Critique of Judgement (1790). We could realise that, since Schiller’s theory of tragedy dealt with Kantian concept of the sublime, relating it to the tragic and to the tragedy, it can be considered the first “philosophy of tragic”. However, as Schiller’s thoughts on tragic arts also dealt with the practical consequences of the relation we have just mentioned for the composition of theatrical texts, they can be simultaneously seen as a “poetics of tragedy” which asked questions about the affections that tragedies should produce.
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Friedrich Schiller, Estética, Teoria da tragédia, Poetologia, Theory of tragedy, Poetology, Aesthetics