Capítulo II _ Cinema - Cinema

Dictator, o que dita – entre a ideologia do pensamento único e a diversidade da falha. De Marcel Duchamp a Samuel Beckett, passando por Charlie Chaplin e Buster Keaton

José Januário Guedes Pires
Faculdade de Letras da Universidade de Lisboa, Portugal
N.º 12 (2021)
Publicado 2021-10-25


“Where now? Who now? When now? Unquestioning. I, say I. Unbelieving. Questions, hypotheses.”. It is with this deconstructive note that Samuel Beckett opens his book “The Unnamable”. Before him, Espinoza had already inaugurated this indeterminacy around the body and man: “The fact is that no one has determined, until now, what the body can do.”. Fail, always and better: “Ever tried. Ever failed. No matter. Try again. Fail again.” – so Beckett wrote. And it is because of the failure, the human (too human) act of failing, stumbling and jumping out of the dictate of unique thought, the precision of reversing the logic, as Duchamp inverted a urinal and started to call it “The Fountain”, that this text will be written. This communication is intended to be a compliment to the beatitude and the human being, whose essence is built around the error of wandering, in the performative deviation of difference. Against the unique and massifying dictate, we propose the “différance” of Charlie Chaplin, or Charlot, the Tramp. From the “flânerie” woven between the accident of failure and the humor of Charlie Chaplin and Buster Keaton, to the questioning and the will to never give up on Beckett: “where I am? I don’t know. You must go on. I can’t go on. I’ll go on”.

Palavras-chave Dictate, Fracasso, Beckett, Chaplin, Keaton.
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Este trabalho encontra-se publicado com a Licença Internacional Creative Commons Atribuição 4.0.

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