Symbol of the and militant protesting woman of the feminist movement, the French novelist visited Cuba and, hand in hand with its main leaders, learned about the Revolution and the role of the so-called weaker sex in the emerging Caribbean social process.
By Javier Gómez Lastra
May 26, 2016
Translated and edited by Walter Lippmann for CubaNews
“The fact that determines the present status of women is the stubborn survival of the oldest traditions in the new civilization being outlined. That is what is unknown to hasty observers who see women as inferior to the opportunities offered to them today, or who see only dangerous temptations in those opportunities. The truth is that her situation lacks balance, and for that reason it is very difficult for her to adapt to it. (…)
“Everything still encourages the unmarried young woman to expect ‘Prince Charming’ fortune and happiness rather than to attempt the difficult and uncertain conquest alone. In particular, it will give her the hope of reaching a higher social stratum than her own, a miracle that will not reward her life’s work. But such hope is dire, because it divides their energies and interests; it is a division that is perhaps the most serious disadvantage for women. The parents still educate the daughter with a view to marriage more than they promote her personal development, and the daughter sees in it so many advantages (…)”.
This text, taken from the work “Le Deuxième Sexe” or “The Second Sex” by Simone de Beauvoir, a French writer, narrator and philosopher and an essential figure in 20th-Century literature and thought, was a theoretical starting point for various feminist groups and became a classic work of contemporary ideology.
The piece, which breaks the existing canons in Europe since the Second World War, tells a story related to the social status of women and analyzes the different characteristics of male oppression.
It also exposes the gender situation from the point of view of biology, psychoanalysis and Marxism, and destroys the existing feminine myths, inciting the search for the authentic and full gender liberation.
Considered ambitious, the text also maintains that the struggle for women’s emancipation is different and parallel to that of the classes and that the main problem to be faced by the so-called weaker sex is not the ideological but the economic front.
The publication evoked strong reactions because of the marked character of nonconformity that the women of that time began to show.
The big push for gender equality
The beginning of the second half of the 20th century had very particular characteristics in the socio-cultural field in Europe. If anything brought about radical changes in ethical, political and philosophical thought in the countries of the Old Continent after the World Wars, it was the enormous need to achieve fundamental human rights and the emancipation of women.
Faced with the example of the policy of equality for all, applied by the governments of the nations of the newly created socialist bloc, many thinkers, human rights fighters, writers, poets, philosophers, and even politicians in Western Europe took a 180-degree turn in their way of valuing life and began to call for true equality between men and between men and women.
It was in this context that Simone de Beauvoir stood out and left a deep mark on the universal history of the world, leaving behind not only her extensive literary work, but also her tireless struggle.
In spite of her bourgeois origin, from a very young age the intellectual knew the difficulties of her contemporaries in a world dominated by men, markedly masculine, made in the image and likeness of the male and where women were relegated to domestic chores or simply to love.
Her work reflected women’s problems, marked by exclusion from production and home-based processes and purely reproductive functions, which represented the loss of all social ties and the possibility of being free.
A radical change
Simone was born in Paris on January 9th, 1908, in a district where coffee shops were beginning to proliferate, where literary gatherings were present and intellectual environments that logically influenced the writer’s education were created.
Very early on she excelled as a brilliant student and studied philosophy at the Sorbonne. Until 1943, she was involved in teaching in high schools in Marseille, Rouen and Paris.
At the age of eighteen, she wrote the first literary essay where the protagonist has many traits in common with her. From that moment on, literature played an essential role in her work.
In 1929 he met the philosopher Jean-Paul Sartre, who became her companion for the rest of her life. Together they shared almost five decades of existence.
Sartre’s influence was unquestionable and Simone began to make use of her existential freedom. This led her to renounce her family and friends, adapting to the real world and choosing a new system of life based on her encounter with the philosopher.
Under these principles, she managed to penetrate the world of the Parisian intellectuals of the 1930s, being one of the few women that this closed universe came to accept.
Extensive literary legacy
According to the vast majority of critics, researchers and scholars of Simone’s literature, in her literary texts she dared to revise the concepts of history and character and incorporated, from an existentialist perspective, the themes of freedom, situation and commitment.
Together with Sartre, Albert Camus and Merleau-Ponty, among others, she founded the magazine Les Temps Modernes [Modern Times], whose first issue was published in October 1945 and became a political and cultural reference point for French thought in the mid-20th century.
The thinker’s extensive work includes the texts “The Guest” (1943), “The Blood of Others” (1944), “Pyrrhus and Cinema” (1944), “All Men are Mortal” (1946), “For a Morality of Ambiguity” (1947), “America Today” (1948) and “The Farewell Ceremony” (1981).
In the latter, she openly dealt with the curious love relationship, from her youthful days to her old age, and the death of her companion, which implies their hard separation. Despite the absolute identification between them, they never shared the same roof, making use of freedom and with no other purpose than the mutual need to find each other, which allowed them to achieve a perfect symbiosis.
The work ends with the striking phrase: “His death separates us. My death will not bring us together, it is so. It’s been a long time since our lives could have melted together.
In the mid-twentieth century, with some feminists, she also established the Women’s Rights League, which set out to react firmly to any sexist discrimination, and prepared a special issue of Modern Times to discuss the subject.
Her many testimonial and autobiographical titles also included other texts such as “Memoirs of a Formal Young Woman” (1958), “The Fullness of Life” (1960), “The Power of Things” (1963), “A Very Sweet death” (1964), “Old age” (1968), “The End of Accounts” (1972) and “The Farewell Ceremony” (1981).
Character is destiny
The Algerian war broke out in 1954 and Simone felt powerless in the face of reality, thus beginning her period of political struggle.
She took part in anti-fascist demonstrations and gave lectures to the students, but all attempts to impose criteria against the system were unsuccessful, and, despite her efforts, Charles de Gaulle was declared President of the Republic.
This new political situation prompted Simone to rekindle the need to rebel once again, and she agreed to accompany Sartre to Cuba in 1960. There she met Fidel Castro and Ernesto Che Guevara, among other revolutionaries, in Havana. Cuban photographer Alberto Korda documented the meeting between the couple and the two leaders.
Both Sartre and Simone were always fascinated by the Heroic Guerrilla. At the time of his death, seven years later, Sartre wrote: “Che was not only an intellectual, but also the most complete human being of our time”.
The couple spent almost two months working on the main island of the Antilles, which led to their subsequent and continued dedication to the defense of the Cuban Revolution.
They made an intense tour of the island, which included a tour of the Ciénaga Zapata swamp, the inspirational examination of the book “Sartre Visits Cuba”, published in Havana in 1960 by Ediciones Revolución. In its pages, the philosopher narrated his experiences in the country.
Fundamental decade for women and their rights
The Frenchwoman’s ideas soon reached the rest of the world and Simone de Beauvoir centers began to proliferate everywhere.
The emancipation of women was her ideal of struggle. Without denying the biological differences, she was able to denounce a whole system of oppression that worked – and still persists – from levels such as the home and that can extend to entire nations where one sex is established and dominated by another.
Her main ideology was based on equal opportunities for both men and women and on the true emancipation of all, both at work and in society.
Simone disappeared physically in 1986, but her intense work of ideological activism and broad literary exercise remain imperishable as a sure guide to the struggle for full equality. This is what her work testifies to.
The trivialization of the art of clowning is a widespread phenomenon in our society, rooted essentially in its conversion into a lucrative business.
Author: Leidys María Labrador Herrera | email@example.com
29 March 2018 20:03:13
A CubaNews translation. Edited by Walter Lippmann.
A unique music sounds and at its rhythm, the picturesque character comes out, dressed in big shoes, colorful clothes, a funny wig or hat, painted face and the unmistakable red nose. He or she stumbles forward, laughs loudly and always has a joke up their sleeve.
Surely, if we were to conduct a survey of the Cuban population about their idea of what a clown is, the descriptions would more or less revolve around the one we presented at the beginning of this report. I can bet that most people would think the question was a little silly because who doesn’t know what a clown is? But this is accompanied by another question: do we really know?
We are not far from the truth when we say that behavior and clothing largely define a clown, but they are only its superficial shell. Behind that peculiar being that we see before us, there are other elements that make up its essence and that, unfortunately, have been diluted in the limbo of having certain acting qualities, some vis comic and the idea] that with that they are already suitable to make people laugh.
However, a deeper approach to this subject allows us to understand that clowning is an art that has become trivialised and commercialised in our society. Many have turned it into a lucrative business, to the detriment of the most important function of the clown: touching human sensitivity.
From the opinion of well-known personalities of Cuban theater and some of the most faithful exponents of this type of acting, Granma approaches the dilemma of the true differences between the clown who is sustained only in the material interest, and the one who starts from the actor’s ethics, the conscious dramaturgy and the need to transmit true messages to the people.
HOW DO YOU BUILD A CLOWN?
It is not necessary to be a theatre specialist to understand that any actor or actress, when she or he plays a role, if she or he does so with responsibility for her or his art and the unavoidable commitment to the audience, is capable of changing her or his skin. During the time that a production lasts, it assumes another life, other conflicts, another reality.
Building a character doesn’t mean it’s anything like him. In other words, it is possible to assume values, ways of acting, norms of behavior, even a temperament that has nothing to do with the actor’s true personality. In the case of the clown, although there must be the same level of responsibility, ethics, and commitment, the clown and the actor are the same person. The one cannot exist without the other.
This is what a man who, like many others, began as a clown for parties and birthdays, but then decided to take a step forward, because he understood the need to dignify such an ancient and vilified art. Perhaps this is the greatest merit of the group he founded and which today has become a paradigm of clowning in Cuba, Teatro Tuyo. Ernesto Parra, its director, knows very well what the birth of a clown is all about.
“Actors in our profession have the ability to approach lives from a character. The actor in the dramatic theater is going to play the role of a doctor and does not necessarily have to have studied medicine, he can play the role of a drunkard and be a teetotaler, but in the case of the clown the difference, which is not tacit, but only the adaptation to this concept of acting, is that yes, we are playing a character who is the clown, but it has been made with the actor’s own characteristics. There is no distance between the character I am going to play and the person I am.
“In any case, the actor who plays a clown, whether it be on a birthday, in a theatre, in a circus… when the performance is over, is once again the normal person who goes home to face his routine. What happens is that this character is constructed from his own psycho-physical characteristics. The mythical example is that of Charles Chaplin, who built a Charlot, the little tramp, through his own experiences.
A similar opinion is shared by young Adrián Bello Suárez, who has carried out all his acting growth in Teatro Tuyo.
“My clown’s name is Belo, and I started to find him after I had been in the group for some time. In fact, I’d say he’s still a long way off. I have drunk from Belo and Belo from me, I could tell you that we are walking hand in hand along the same path. Because that’s what the art of clowning is all about, of finding the clown that we all have inside us which is unique for each person, and building it with your own emotions, feelings…”.
Such experiences show that playing a clown is more than just having a red nose. Perhaps it is from this ignorance that the superficial vision of those who believe that dressing up in colorful costumes and stumbling senselessly is to be a clown.
THE DEFORMATION OF THE REAL CLOWN
The children are seated awaiting the presentation. The birthday boy’s parents are also anxious to see the protagonist who, frankly, has a tight budget The time comes, but there is no music of bugles or cymbals, what begins is the thunderous reggaeton and the clown comes out wagging his waist in an act that has nothing to do with comedy but borders on the obscene.
I’m not saying this is always so. We cannot commit the sin of absolutists and say that all those who today entertain in children’s parties act in this way. But how many of us haven’t had regrettable experiences like that? The saddest thing is that this person continues to do his “job” and we continue to open the doors of birthday parties to him.
NOTE: Sound file is in Spanish:
For Rubén Darío Salazar, director of the “Teatro de las Estaciones” group, this process implies a step backwards when talking about clowning.
“The art of clowning in our region, and in Cuba specifically, has suffered a regression. This is because it is something that many people feel entitled to do without, schooling, without training. They think they can just play the clown without any of that. But the worst part is that people believe it, and they are paid and hired and they cause a distortion in the profession.
“Being a clown has long been an art form looked down upon, and I don’t know why, because we have had in our country people with a powerful history in clowning, like Edwin Fernandez, known as Trompoloco. He was an actor who played the clown with a mixture of impressive lyricism and satire. I believe that this has been lost, it has been deformed, it has been devolved, without any of us noticing that the art of clowning is the new comedy, if we take it seriously, with the discipline and commitment it demands”.
TRIVIALIZATION, A LATENT PROBLEM
Ernesto Parra himself has a similar opinion. He says the trivialization of the art of clowning is a resident problem in today’s Cuba, especially when the real perspective of any actor performing a clown is lost, driven by economic need.
“We cannot say that the art of clowning is made in a single way, nor that it has these or those typical characteristics. The clown genre, according to the master Dario Fo (Italian actor and writer, recipient of the Nobel Prize for Literature), is the preparation of an artist who becomes a total actor and is the one who transmits, through humor, not as an end but as a means, an emotion, poetry, an idea, tackles a problem. It is not the stereotyped clown, of screams, of colourings, of jumps, of falls, of stumbles. Although they are elements that he uses to construct his dramaturgy, they do not constitute his main objective. That is to say, to take the spectator by the hand to arrive from humor to touch the soul and to move”.
Emptiness, lack of real, direct communication with the public, and in many cases, a total lack of tools to enrich the character, are some of the most common aspects when analyzing this phenomenon of the “multiplication” of clowns. The sharp vision of the master Roberto Gacio, who is a theatre institution in Cuba, allows us to evaluate some of the most notorious weaknesses that these clowns face.
“It is necessary to investigate, deepen, and be in a very serious position to transmit messages, not so much from social reality as from human existence. This, like other phenomena, is also marked by the loss of values, the lack of interest in personal and collective improvement and, of course, the economic factor.
“The way to save the clown’s art is to realize that you have to say things out of sensitivity, out of humanity. The clown and the clown, in general, are also like big children, who talk about serious adult things or children’s things, but with a lot of tenderness”.
Logically, like other similar dilemmas that take place within all artistic expressions, this process cannot be seen as alien to the social context, nor divorced from everyday realities or the way people perceive the world around them. These are aspects to which researcher, theatre critic, and director of the magazine Tablas-Alarcos, Omar Valiño Cedré, attaches great importance.
“There are two different dimensions to the problem. The abundance of clowns, which in reality there are not, should not be seen as excessively pernicious. It is simply an economic reality, in which people who have a certain capacity for animation, entertainment and the world of acting, seek that economic reinforcement for their profession, although they are not necessarily clowns [themselves]; and of course, there is the dimension that Teatro Tuyo and other artistic groups and entities represent, which is the dimension of the real clown, of the clown as a very singular priest of the performing art.
“Being a clown is the greatest thing in the performing arts. A real clown moves an amount of energy, of metaphors, of symbols, of abilities around him that is hardly achievable with any other scenic material. I believe that the challenges are, for all those who want to evolve from one side to the other, to know technically, spiritually and intellectually, what a clown is and how to train. Knowing how to be up-to-date, how to be effective in terms of communication and how to establish new pacts, new links with today’s public that is not the same as it was a few years ago”.
That is precisely the perspective of a group that has managed to fill theatres, to be loved by young and old and become an obligatory reference point whenever there is talk in Cuba of the worthy profession of the clown.