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Theatre as Creative Failure: Simone Weil’s Venise sauvée Revisited

Thomas Sojer read

Abstract: Simone Weil’s dramatic criticism and dramatic writing offer a way of reconceptualizing what it means to engage critically under fascist censorship. This essay explores her closet drama Venise sauvée as an example of her embrace of writing political resistance in a time when classical theatre criticism was absent and artistic resistance had been made futile. Simone Weil called for an awakening in the audience to acknowledge their responsibility of how they let theatre shape their way of thinking about war. I demonstrate that Weilian theatre theory does not only consider the stage an object to be analyzed, but also the very subject through whose lenses one can undertake a critical reshaping of ways to interpret the world. In this dramatic view on WW II Weil exhibits the artistic voices of resistance in occupied France as caught in its own echo chambers and thus no longer perceptible in society. The essay reads her unfinished historical tragedy Venise sauvée and its central motif of the silenced voice of resistance as an implicit warning to the contemporary théâtre resistant to become the agent of its own irrelevance. I propose that beyond this warning there lies a theory of deconstructing propaganda theatre by unleashing the creative power of theatre’s failure, namely via a distortion of the socially synchronized inner and outer stage of the audience.

Platform, Vol. 13, No. 1, On Criticism, Autumn 2019, pp. 17-30
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Simone Weil and theatre: from attention to the descending way

Giuliano Campo read

Theatre artists and philosophers all over the centuries have often pointed out the existence of two levels within every phenomenon; we call this thought “Dualism”. During the last centuries, many have focused on a specific, although the traditional, example of dualism, which envisions a superior, transcendent reality – that is not connected to ours -. The performer can create such a connection, through her work on “verticality”, touching the superior invisible realm, which must then descend back to our everyday dimension. This article analyses one of the main tools used in order to set up a connection between these two dimensions, that is attention, according to in particular to one of the main thinkers of the twentieth century: Simone Weil. In this regard, the author explores the last pedagogical work of French actor and theatre pedagogue Louis Jouvet and the last period of research by Jerzy Grotowski and his pupils, both focused on that “attention” and “descending way”, which works on the same line of what is better known as “Verticality.” In the second part, Campo comments on Weil’s selected passages.

Stanislavski Studies: Practice, Legacy, and Contemporary Theater, vol. 7, no. 2 (2019), pp. 177-200.
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“Simone Weil on having an inner life”

Eric Springsted listen

We readily recognize the concept of an inner life as a moral category. We struggle to say what an inner life is, though. This essay examines and rejects naturalistic attempts to either dismiss the idea of an inner life or make it a matter of brain states, a sort of efficient causality to behaviour. Relying on Simone Weil’s distinction between “the language of the market place and the language of the nuptial chamber,” it distinguishes, as she did, between levels of value. The inner life is a life of dealing with values that demand some kind of personal and intimate response.

Philosophical Investigations, vol. 43, nos. 1-2, pp. 142-157.
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Attention: Thomas A. Clark and Simone Weil

Simone Kotva read

This essay studies the connection between attention and redemption in the poetry of Thomas A. Clark. It discusses the possibility of using Simone Weil’s religious philosophy to interpret Clark’s understanding of attention as ‘waiting’. It argues that while there are affinities between Clark and Weil, Clark’s poetic practice also reveals a resistance to the ascetic extremes which attention assumes in Weil’s philosophy. To think through the difference between attention as method and style, the essay then draws on the failures of Descartes’ Meditations in order to argue that only a practical, that is to say, stylistic, engagement with attention will allow for the radical attention that Weil sought but could not achieve.

Journal of British and Irish Innovative Poetry, vol. 11, no. 1, pp. 1–16, and American Catholic Philosophical Quarterly, Vol. 84, No. 3.
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Turning the gaze to the self and away from the self – Foucault and Weil on the matter of education as attention formation

Johannes Rytzler read

Ethics and Education, vol. 14, no. 3
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The Dimensions of Miracle: An Ethics of Mediation in Simone Weil, Ludwig Wittgenstein, and Virginia Woolf

Collin (Lin) Michael Pritchard read

This project is concerned with the ethics of mediation, as might allow us to see the existence of the world as miraculous. To contextualize these terms, as involve the constraints of personal autonomy and understanding, this first chapter of this inquiry is a comparison of Simone Weil and Ludwig Wittgenstein’s philosophies; from this comparison comes a recognition of the importance of ‘mediation’ in one’s understanding of value, of an “absence that is felt,” which argues for a form of attention constituted by one’s relation to the world and to others. The second chapter introduces how Weil’s concept of ‘reading’—that is, her conception of how one ‘reads’ meaning in the world—has both an ethical and theological dimension, as well as introducing Virginia Woolf’s fiction as exemplary of how this ‘reading’ is a principle of literature; through a comparison with Wittgenstein’s notion of ‘aspect-perception’, it argues for a kind of affective proprioception, which would place one’s actions in relation to a dimension both aesthetic and ethical. The third chapter is a study of Woolf’s ‘To the Lighthouse’, which demonstrates the comparative ethics of literature, as a valuation of characters’ ‘reading’ of others and the world is both implicit and explicit in Woolf’s narration; this study profiles four characters—Lily Briscoe, Mr. Ramsay, Charles Tansley, and Mrs. Ramsay—and centers Lily Briscoe’s painting as a technique of mediation expressive of Woolf’s narrative style, and of certain ethics. This project ends on the question of miracle—and gestures to a gratuitous world.

Bard Digital Commons, Spring 2019.
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Simone Weil’s Radical Ontology of Rootedness: Natural and Supernatural Justices

Alexandre Andrade Martins read

This paper argues that Simone Weil developed an anthropology of the human condition that is a radical ontology of the human spirit rooted in reality. Weil begins her account from the real, but this real is not only the historical or social reality. It is also what is true about the human person as a created being in connection with the transcendent reality. She believes that affliction reveals the human condition and provides an openness to transcendence in which the individual finds the meaning of the human operation of the spirit. Therefore, Weil’s radical ontology is based on a philosophy of the human being as an agent rooted in the world. In order to be rooted, a human being needs decreation (the creation of a new human) and incarnation (cross and love in the world). In her radical ontology derived from attention to the real, Weil argues for an active incarnation in social reality that recognizes others, especially the unfortunates, for the purpose of empowering them and promoting their dignity. Her radical ontology incarnates the human in the world between necessity and good, that is, between the natural and the supernatural.

Considering Emmanuel Gabellieri’s characterization of Simone Weil’s anthropological philosophy as a radical ontology, I examine Weil’s account on natural and supernatural justices. According to Gabellieri, Weil’s ontology is radical because it is “a metaphysics of the human spirit oriented towards a full contact with reality.” Full contact with the reality of the world is the starting point of Simone Weil’s philosophy. This contact is radical because the supernatural is present in reality, and a deep experience of reality opens the individual for the illumination of the supernatural, an experience of grace that reveals the truth of human existence and condition in the world. Therefore, Simone Weil develops an anthropology of the human condition that is a “radical ontology” of the human spirit rooted in the reality of the world. The experience of rootedness occurs in reality, but it is the supernatural that roots the human being.

Weil suggests an anthropology of radical ontology following the Platonic tradition of a transcendental spirit that contemplates the nous. This generates a noetic knowledge that impacts reality. It is in this mediation between reality and the supernatural that the need for justice occurs, as a natural reality illuminated and guided by supernatural justice. In this account, she is also inside the Christian mystic tradition, in which the experience of grace impacts the ethical life leading to seek for justice. To understand Weil’s radical ontology, this paper will discuss three points of her account: her starting point from the real, the movement of decreation and openness of the working of grace, and the supernatural justice that illuminates the natural justice in a rooted people.  {full text in “Read” link above}

Theology Faculty Research and Publications, Marquette University (Spring, 2019)