O TRÁGICO NA MÚSICA

A CARMEN DE BIZET COMO EXPRESSÃO DA TENSÃO APOLÍNEO-DIONISÍACA

Abstract

I intend to defend a possibility of interpretation of the opera Carmen of Georges Bizet through the nietzschian concepts of Apollonian and Dionysiac. I consider that we can study the aesthetic text of this workmanship for way of this perspective, it following way: it would have, to the long one of the workmanship, a conflict of forces between the Apollonian one (represented for the Micaela personage), and the Dionysiac (represented for the personage heading of the workmanship), around the actions of Don Jose, the hero who oscillates between the two originary. While made use to the apollonian side, Don Jose lives harmoniously, in accordance with the parameters of behavior instituted by the society, intending to adequately follow its daily functions in favor of the accomplishment of this objective. In turn, when it interacts with Carmen, Don Jose suffers the Dionysiac experience from dissolution of the individual rule, therefore Carmen does not praise the measured joust, but the drunkenness and the sensual dance as expression of the freedom of the life. Inserted between these two polar regions, we see the trajectory of Don Jose to break of the affirmation of the balance route to the excess, necessary consequence for that if it leaves to seduce for the Dionysiac impulse. When Jose kills Carmen, in the end of the opera, such fact elapses for the incapacity to continue living in the tragic intensity, that would take it to the chaos, therefore the individuation if he keeps in fragile lines of control. When killing loved its, Jose does not obtain to get rid itself of the impulse without control, therefore already a Dionysiac man becomes.