Certainly, politics has always, and probably everywhere, been a spectacle, an often unbearable theatricalization of everything that comes along.
Our trouble, now, in the winter of 2024, lies in the fact that this theatricalization has also encompassed the law.
And it tries to generalize spectacularly emotional behaviors in this area as well.
Applause, whistles, booing – the entire theatrical, ludic immediacy starts to displace legal argumentation. With such theatricalization, the skill of reading between the lines, catching legal nuances, referring to the text, becomes of little use.
If this process becomes widespread, we will again be proud of our theatrical avant-garde, though it will not be an inexpensive experiment.
Theatrum mundi is a term describing the reality of many cultures, fitting what happens in many countries. But why are we, of all people, treated to the delight that the latest premiere in our puppet media theater looks like an avant-garde synthesis of two tales: Frankenstein and The Big Mystery of Teddy Bear Uszatek? To laugh or to cry?
It’s unclear, all the more so as there are numerous voices of criticism, believing that this spectacular muddle really revolves around Devil’s Games.