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In Dostoevsky's The Legend of the Grand Inquisitor β a novella and parable tucked inside The Brothers Karamazov , and arguably the 19th century's greatest sliver of writing β Christ returns to Earth in Seville during the Inquisition. There, he meets the Grand Inquisitor, who, besides threatening to burn Him as a heretic for disturbing their peace, dismantles Christ's philosophy on the basis of faulty assumptions: that Christ wrongly presumed that mankind was strong enough to embrace freedom with all its costs and responsibilities and therefore would aspire to the virtues of peace and benevolence.
He was directed by Peter Brook. The evening's second half was devoted to Fragments by Samuel Beckett arguably the 20th century's greatest poet , staged by Brook and Estienne.
It consists of five sketches Rough for Theatre I , Rockaby , Act Without Words II , Neither and Come and Go depicted in a comic-tragic style with the features one associates with Beckett β the starkness of existence, the austere landscape, the hobo-clowns Myers and Yoshi Oida passing time with pointless daily rituals until darkness descends once more, and the poetry of life's extinction as a woman Hayley Carmichael quietly expires in a rocking chair.
The slavish devotion to Beckett's original intent kept the event very 20th-century β the consequence being that these classics start to resemble throwbacks, even though their ideas have never been more relevant. The possibility that we find ourselves in an endgame β a planet we're destroying, protective social policies we're abandoning and the transparent, unprecedented manifestations of greed β may be the only important thing left to dramatize. But if an old play keeps getting staged in the same old way, it gets boxed in, and seems to matter less than it should.
The Grand Inquisitor speaks of the need to keep the people comforted and docile with fantasies they'll willingly incorporate into their reality β fantasies of heaven, of life after death. That statement anticipates the existentialists and absurdists who would emerge a century after Dostoevsky was writing β the likes of Beckett and Ionesco and Pirandello β who would, through a mix of clown shows and dirges, illustrate how we derive meaning through contrived daily habits and inventions, which are fantasies of control amidst chaos and oblivion.