La comprensión del arte como juego y tiempo festivo. Una aproximación gadameriana.

Abstract

La presente investigación indaga sobre la comprensión del arte a través de la relación juego y tiempo festivo desde la propuesta gadameriana. Gadamer inscrito en la tradición hermenéutica tiene como objetivo el fenómeno de la comprensión, por ello el concepto de juego permite romper con una apreciación subjetiva de la obra de arte, no se reduce de manera exclusiva a una conciencia que se activa para hacer un juicio sobre ella; el juego por sus atributos permite comprender esta experiencia como una totalidad de sentido que se activa con la participación de los jugadores. El arte, en sus diferentes manifestaciones posee la cualidad de interrumpir el tiempo para vivirlo como extraordinario. Su condición irruptora reclama la comprensión de ese gesto ritual y en consecuencia su temporalidad. Por ello, se presenta la reflexión en torno a la fiesta, la fiesta nos provoca a pensar la comunicación y la experiencia de comunidad que en ella se manifiesta. El arte por sus características intrínsecas inaugura un espacio en el cual asistimos, provocando con ello una experiencia, una posibilidad de comprensión originaria que se resiste en cada encuentro a dejarse reducir a categorías y conceptos ya establecidos, pues la imaginación se pone en marcha.

This research investigates the understanding of art through the relationship between play and festive time with a Gadamerian approach. In a hermeneutic tradition, Gadamer’s objective is the phenomenon of understanding, therefore he considers it necessary to start from the foundation of human sciences and to expose art as the vehicle that allows him to show how modern science finds its limit in this experience. The human sciences focus on other fields of knowledge, experiences such as art escape instrumental rationality. The concept of play allows to break with a subjective appreciation of the work of art, which is based on a reduction to a conscience that is activated to make a judgement on art; the play by its regulated attributes – space, delimited time and movement – allows to understand this experience as a totality of significance that is activated with the participation of the players. The play, being open to others – the primacy of the play over the player – allows the spectators role to be incorporated into the discussion. The spectator participates in the playful dynamic and in his or her co-presence completes the work of art by constructing an inaugural understanding. Art, in its different manifestations, has the quality of interrupting time in order to experience it as extraordinary. Its disruptive condition demands the understanding o f this ritual gesture and consequently its temporality. For this reason, the reflection on the festival is important. The festival helps us to think about communication and the experience of community that is manifested in it. In order to understand its ritual character and its temporality, it is necessary to oppose the time of work to the time of the extraordinary mode, which is experienced within the festival in its ritual dimension. The compression of art from these coordinates shows the relationship between the different levels that the arts can have. It blurs the boundaries between spectator and stage, and the stage blurs the limits in the artistic disciplines. This thesis in its exposition intends to understand art in its different manifestations. Art by its intrinsic characteristics opens a space in which we attend, thus provoking an experience, a possibility of an inaugural understanding that resists in each encounter to be reduced to already established categories and where the imagination is set in motion.