. Is it not a cruelty of a poet, which she (the actress) imposes a public, that is a public (a Prostitute) ashamed?
(Jean Paul)
A woman has pushed its troops repelled suitcases and bags, their miserable household under the leaky roof of a rural barn. Between the beams they stretched ropes to hang their dirty laundry. In cramped sewing and mending their clothes, the hair is tallows and eat her dress, and drink it, nourish the mothers of their children. As actresses, they earn and the children on maintenance. They dress up as Diana, the goddess of Hunting, as Juno, the wife of Jupiter, as the goddess of the night, as a flower goddess Flora, as fish-tailed siren, as Ganymede and eagle, as the Devil and Cupid. You are about to give her last performance: "The devil to pay in heaven." Tomorrow they will be working and homeless. clamped under a pot of baby food is on the crown on the ground already prohibiting their existence: "Act against Strolling Players" Only in theaters patented Drury Lane and Covent Garden, in the city of Westminster and the king is the exercise of their profession be allowed. This scene depicts William Hogarth engraving "Strolling Actresses dressing in a barn" in 1738.
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| Source: http://www.shakespeares-sonnets.com/Archive/Images/Stroll1.jpg |
Hogarth gives insight into the provisional budget for an actress-force between the feeding of infants, the washing of clothes, handicrafts, the preparation of food and preparation for the concert. Hogarth actresses here are on the threshold between the private and the public: already half-turned in their stage roles, but still busy with their domestic responsibilities and joys. But one hesitates - and rightly - the bourgeois notion of the separation of privacy and public space in this messy to apply force, which has gathered under the barn roof.
will dramatically shown in the picture, the difference between the stage start in classical goddesses roles and real life circumstances propelled actresses. It denounced in Hogarth's engraving, but not the power of myth, the current emergency, but the reverse caricatures the life world, the mythical image. Diana will be shown in their traditional pose, in addition to to the ancient altar, decorated with rams' heads and has replaced the traditional beer mug cup. In the background there is a blood sacrifice: An actress holds a cat that has a different - cuts in the tail - as a ghost. Front right student Juno with a flourish their role between kitchen utensils, while her after the goddess of the stocking stuffer. Jupiter's thunderbolt lying on the floor and flint, pees in his helmet a little monkey. Diana sits next to the Flower Goddess Flora and talgt with a candle hair. A drunken flirting with the siren zahnwehkranken Ganymede, meanwhile, an elderly Aurora picks her the vermin from the hole. As a counterpart to the peeing monkey sitting in the right corner of the eagle, which is to kidnap Ganymede, busy to feed an infant. The gods-father himself is all in the shadow of Diana and turns back to us. He sent a winged Cupid on the ladder to bring him dry socks. The mythical gods are translated into their mundane functions: Juno is faced with the entire household, the goddess of the night helping to keep up appearances, the goddess of the dawn is busy with the cleaning, flora adorn himself and the gods cupbearer Ganymede is a friendly siren brandy served against toothache. are also in their opposite some divine figures wrong: Diana, the chaste huntress, is in the middle as an incarnation of lust, the god father Brighthelm serves as a toilet and the cruel bird of prey appears to be sogende mother.
Hogarth satire directed against the classical view of art and theater. "Shabby mortals" assume the roles of gods, kings and queens. But be careful: no man can be seen from the front. The Men's roles are played by women. The mythical images alone are caricatured by the work of women. What may always tell the classic myths, says the pressure you have to eat and drink, dress and care, wash and sew, you have to provide for the children. This will also clear why the father of the gods and his Cupid stay here in the background not wear men for all of this concern, but the women. The male God and his messenger of love with her desire to produce much more the needs and wants that are satisfied here. You used Hogarth's account back to the benefit of a play many gestures of spending: the outstretched palm of Juno, the knees stockings Mending night goddess, the blood sacrifice of the cat, the free movement of Diana and Flora, the cleansing Aurora where the performance siren, the feeder Mother, the peeing monkey. These gestures of giving by Hogarth but not glorified. The budget is guided conceivable uneconomical and is in constant danger of dissolution. Hogarth shows us the goddesses of the stage at the household work and in preparation for their work on stage. The disillusionment of the stage illusion he contrasts with the evident desire of the actresses, the pleasure of eating and drinking, to sexuality.
The view that Hogarth can throw us to these women, the look of the voyeur is, like the naughty boy, a "modern Actaeon" peeking through the leaky barn roof of Diana in the section, we look at this scene without permission. But this other is Diana, this is obviously not have the power to punish the forbidden shows. Because Diana is in fact not a goddess but a "public woman" and as such, in fact in a legal vacuum. Your body that issues the money belongs to, the public long ago and how many of their craft, they may have been forced to sell him for sexual use. Hogarth illustration, however, "disenchanted" the sexualizing gaze of the viewer to the object of his desire. This Diana is not ashamed. But it is Nor for his eyes and her colleagues dar. you go in this presentation not in its function as an erotic stimulant for the peep-show view of the remaining adolescent male. Instead, this particular view is confronted with itself. Diana looks directly at the viewer and points the finger at those long ago discovered the boy on the barn roof. The voyeuristic gaze is reciprocated and ashamed.
Hogarth engraving is an art understanding of the picture, in which the art will still make contributions to social debates to take place independent works. Such art, however, Hogarth knows exactly who is exposed to mortality. Vanitas symbols are everywhere: broken eggs, the helmet of the heroes in the potty, the orb as a pawn of the cats. This symbolism is supplemented with documentary elements: the document is sealed at the bottom end of the final history of this kind of acting. At the professional life of actors, these women will have no part. The sedentary lifestyle of the not actresses, with the Hogarth his art is identified, a fragile, threatened and threatening "in between", that the doomed: between sublime art and to claim social needs, myth and budget, work and desire, the economy of scarcity and waste.
What, then, is the autonomous art of genius, starving hungry and maybe still, but above all, standing as an exception and even outside of these conceptual relationships. Art is the antithesis of commercialism, and separates from the craft. The plant expects no audience more as a viewer, but lovers and connoisseurs. Also in this art often considered a male artist will be reflected in the image of a woman. But the figure he paints or draws, will no longer be his actress but his creation. No looking back from there, of a male desire irritated, no female existence that is not defined in their relationship to men: Emma, Anna, Effi.
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