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TU NO ME MOLA Teatrillo

almost thirty years ago, the philosopher Jean-Francois Lyotard wrote, "the secret of artistic success, as well as the commercial success lies in a dosage between surprising and "well known" among the information and code. This is innovation in the arts, takes up formulas confirmed by previous successes, they are unbalanced through combinations with other formulas in principle amalgam incompatible and appointments, decorations, pastiches. [...] Thus, it is believed to express the spirit of the time, when not only reflects the market. The sublime is no longer art, but on speculation about art. " Because of its simplicity this statement is not indifferent. But when Lyoatrd talked about innovation in the arts at what arts did he mean? Obviously the visual arts, and if we pull and deform the above, including the novel. Thus we see that poetry was outside its territory. Poetry and market? It seems evident that do not match. But it is not so simple. Poetry, English poetry particular, seems to have learned the lesson, and it reflects a delay surprising. How can poetry be a reflection of the market? It's simple, stripped to its core element poetry: language. Innovation does not come on the side of language, but by the side of the bracket, and this obviously has to do with the commercial aspect of the poetic fact. Now there is talk of poetic performances, spoken word, and why? Because the market does not want poetry or poetic language . An example: in New York began using the term spoken word due to the fact of social rejection, but mostly commercial to the word poetry . Therefore, get the poetry books, which is the way the authors of very little interest in the literary aspect, in the writing itself, becomes the target in order to enter the market. Many poets and poets-or whatever-they seem to have discovered yesterday Cabaret Voltaire, but ignore that, as Breton said, the view over and that "long ago the risk lies elsewhere and not in the Screaming. " But obviously it is not imitating a kind of cabaret Voltaire but say it is necessary to remove the opacity of poetry, that is what it is, and how to make poetry accessible to the general public is it back to the jarchas and troubadours. Awesome. And even states that "we will take the poetry out of books to return to the people, that is to whom it belongs." Is it so? Take a counterexample: imagine a visual artist is told that his work leaves the opacity has to return to sixteenth-century painting. Obviously it would be madness. Or that a scientist will say, look, quantum mechanics, string theory and others are very complicated, why do not we all and go back to when everything was simpler?

Finally, in these performances of poetry, as in a perfect diversionary tactic tends to be more focused on the support that language. It seems that not matter what they say but by what they say. So we can see old-fashioned real atrocities, real cheesy ridiculous that, filtered through a screen, yelled his lungs, or hidden under an electric guitar, hide their little literary interest. Holopoetry, perfopoesía, polypoetry, micropoesía, are only forms of subjection to the market from the vague and ridiculous idea "of wanting to reflect otherwise. The weight falls on the prefix and that is when we are lost. Believe reflect the spirit of the time but really reflect the spirit of the market.