E<\/span>l \u00faltimo gag de Charlot es haber trasferido la mitad de su premio sovi\u00e9tico a las arcas de los traperos de Ema\u00fas. En el fondo, esto equivale a equiparar la naturaleza del proletario y del pobre. Charlot siempre ha visto al proletario bajo los rasgos del pobre: de ah\u00ed surge la fuerza humana de sus representaciones, pero tambi\u00e9n su ambig\u00fcedad pol\u00edtica. Esto resulta palamario en ese film admirable que es Modern Times<\/em> (1936, Tiempos modernos). En \u00e9l Charlot roza sin cesar el tema proletario, pero jam\u00e1s lo asume pol\u00edticamente; nos muestra un proletario a\u00fan ciego y mistificado, definido por la naturaleza inmediata de sus necesidades y su alienaci\u00f3n total en manos de sus amos (patrones y polic\u00edas). Para Charlot, el proletario sigue siendo un hombre que tiene hambre. Y las representaciones del hambre siempre son \u00e9picas: grosor desmesurado de los sandwiches, r\u00edos de leche, frutas que se arrojan negligentemente apenas mordidas.<\/p>\n<\/div><\/div><\/div><\/div><\/div>Sorry, your browser doesn't support embedded videos.<\/video><\/div><\/div><\/div><\/div><\/div><\/div><\/div>
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Pero justamente porque Charlot aparece como una suerte de proletario torpe, todav\u00eda ajeno a la revoluci\u00f3n, su fuerza representativa es inmensa. Ninguna obra socialista ha llegado todav\u00eda a expresar la condici\u00f3n humillada del trabajador con tanta violencia y generosidad. Solo Brecht, quiz\u00e1s, ha entrevisto la necesidad, para el arte socialista, de tomar al hombre en v\u00edsperas de la revoluci\u00f3n, es decir, al hombre solo, a\u00fan ciego, a punto de abrirse a la luz revolucionaria por el exceso \u00abnatural\u00bb de sus desdichas. Al mostrar al obrero ya empe\u00f1ado en un combate consciente, subsumido en la causa y el partido, las otras obras dan cuenta de una realidad pol\u00edtica necesaria, pero sin fuerza est\u00e9tica.<\/p>\n
Charlot, conforme a la idea de Brecht, muestra su ceguera al p\u00fablico de modo tal que el p\u00fablico ve, de golpe, al ciego y su espect\u00e1culo; ver que alguien no ve es la mejor manera de ver intensamente lo que \u00e9l no ve: en las marionetas, los ni\u00f1os avisan a Guignol de lo que este finge no ver. Por ejemplo, Charlot en su celda, mimado por sus guardianas, lleva la vida ideal del peque\u00f1oburgu\u00e9s norteamericano: cruzado de piernas, lee su diario bajo un retrato de Lincoln, pero la encantadora suficiencia de la postura la desacredita completamente, hace que en adelante no sea posible refugiarse en ella sin observar la nueva alienaci\u00f3n que contiene. Los m\u00e1s leves entusiasmos se vuelven vanos; al pobre se lo separa siempre, bruscamente, de sus tentaciones. En suma, por eso el hombre Charlot triunfa en todos los casos: porque escapa de todo, rechaza todo gregarismo y jam\u00e1s representa como hombre otra cosa que al hombre solo. Su anarqu\u00eda, discutible pol\u00edticamente, quiz\u00e1s signifique en arte la forma m\u00e1s eficaz de la revoluci\u00f3n.<\/p>\n<\/div>
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Roland Barthes, 1957.<\/p>\n<\/div><\/div><\/div><\/div><\/div>
Sorry, your browser doesn't support embedded videos.<\/video><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":82,"featured_media":42935,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[79,678],"tags":[58,116,353,672],"class_list":["post-42905","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cine","category-textoscine","tag-arendt","tag-barthes","tag-benjamin","tag-chaplin"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/www.edder.org\/upload\/2024\/08\/chaplin_barthes.png","jetpack_shortlink":"https:\/\/wp.me\/p6kHv-ba1","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":39368,"url":"https:\/\/www.edder.org\/?p=39368","url_meta":{"origin":42905,"position":0},"title":"Una mirada retrospectiva a Chaplin, por Walter Benjamin","author":"Eder","date":"martes, 1 Dic, 2020","format":false,"excerpt":"","rel":"","context":"En \u00abCine\u00bb","block_context":{"text":"Cine","link":"https:\/\/www.edder.org\/?cat=79"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.edder.org\/upload\/2020\/12\/benjamin_chaplin.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.edder.org\/upload\/2020\/12\/benjamin_chaplin.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.edder.org\/upload\/2020\/12\/benjamin_chaplin.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.edder.org\/upload\/2020\/12\/benjamin_chaplin.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":42997,"url":"https:\/\/www.edder.org\/?p=42997","url_meta":{"origin":42905,"position":1},"title":"Futbolmarianismo y regionalcatolicismo de los siglos XX y XXI","author":"Eder","date":"mi\u00e9rcoles, 21 Ago, 2024","format":false,"excerpt":"","rel":"","context":"En \u00abPrehistoria contempor\u00e1nea\u00bb","block_context":{"text":"Prehistoria contempor\u00e1nea","link":"https:\/\/www.edder.org\/?cat=90"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.edder.org\/upload\/2024\/08\/athletic_begogna.png?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.edder.org\/upload\/2024\/08\/athletic_begogna.png?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.edder.org\/upload\/2024\/08\/athletic_begogna.png?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.edder.org\/upload\/2024\/08\/athletic_begogna.png?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/www.edder.org\/upload\/2024\/08\/athletic_begogna.png?resize=1050%2C600&ssl=1 3x"},"classes":[]},{"id":40741,"url":"https:\/\/www.edder.org\/?p=40741","url_meta":{"origin":42905,"position":2},"title":"Charlie Chaplin, el sospechoso (por Hannah Arendt)","author":"Eder","date":"jueves, 26 Ago, 2021","format":false,"excerpt":"","rel":"","context":"En \u00abCine\u00bb","block_context":{"text":"Cine","link":"https:\/\/www.edder.org\/?cat=79"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.edder.org\/upload\/2021\/08\/chapkin_arendt.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.edder.org\/upload\/2021\/08\/chapkin_arendt.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.edder.org\/upload\/2021\/08\/chapkin_arendt.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.edder.org\/upload\/2021\/08\/chapkin_arendt.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/www.edder.org\/upload\/2021\/08\/chapkin_arendt.jpg?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/www.edder.org\/upload\/2021\/08\/chapkin_arendt.jpg?resize=1400%2C800&ssl=1 4x"},"classes":[]},{"id":3271,"url":"https:\/\/www.edder.org\/?p=3271","url_meta":{"origin":42905,"position":3},"title":"Pasolini non finito","author":"Eder","date":"viernes, 15 Nov, 2013","format":false,"excerpt":"Pasolini non finito:","rel":"","context":"En \u00abCine\u00bb","block_context":{"text":"Cine","link":"https:\/\/www.edder.org\/?cat=79"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1754,"url":"https:\/\/www.edder.org\/?p=1754","url_meta":{"origin":42905,"position":4},"title":"Marie-France Pisier","author":"Eder","date":"domingo, 24 Abr, 2011","format":false,"excerpt":"Funde en negro definitivamente para ella. 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