Grotesque is the crisis of the ideal, and therefore a middle ground between the Tragic and the Comic. 

Daily experience offers infinite ideas for the grotesque, the gap between the pose and the role, the drying up of the vital impulse into inadequacy.

Mediocrity is always perceived as a sense of grotesque; it shows us the man who has renounced, the man who has forgotten both his possibilities and his own renunciation.

Grotesque is that tragic, catastrophic sense that always accompanies the dogmatic pretext or the fear of breaking the limits of the convention.

The staging of a fictitious sacredness called to sanctify constituted authority, even more so when residual, is reversed at every step in the figure of the grotesque.

 

Aldo Braibanti

Le prigioni di stato, Feltrinelli, 1969

 

Grotesque is the crisis of the ideal, and therefore a middle ground between the Tragic and the Comic. 

Daily experience offers infinite ideas for the grotesque, the gap between the pose and the role, the drying up of the vital impulse into inadequacy.

Mediocrity is always perceived as a sense of grotesque; it shows us the man who has renounced, the man who has forgotten both his possibilities and his own renunciation.

Grotesque is that tragic, catastrophic sense that always accompanies the dogmatic pretext or the fear of breaking the limits of the convention.

The staging of a fictitious sacredness called to sanctify constituted authority, even more so when residual, is reversed at every step in the figure of the grotesque.

 

Aldo Braibanti

Le prigioni di stato, Feltrinelli, 1969

 

Grotesque is the crisis of the ideal, and therefore a middle ground between the Tragic and the Comic. 

Daily experience offers infinite ideas for the grotesque, the gap between the pose and the role, the drying up of the vital impulse into inadequacy.

Mediocrity is always perceived as a sense of grotesque; it shows us the man who has renounced, the man who has forgotten both his possibilities and his own renunciation.

Grotesque is that tragic, catastrophic sense that always accompanies the dogmatic pretext or the fear of breaking the limits of the convention.

The staging of a fictitious sacredness called to sanctify constituted authority, even more so when residual, is reversed at every step in the figure of the grotesque.

 

Aldo Braibanti

Le prigioni di stato, Feltrinelli, 1969

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