Is a real performer to perform in real life?
Are all of these acts?
Do things happen
spontaneously genuine, on their own?
Should a man's real mourning be as dramatic as drama?
Or, shouldn't drama be as dramatic as the real mourning?
Should he cry with all his heart
for his dead wife in the play
as one cries in real,
or even more? (*)
Which authenticity is compromised then:
the one of performer,
or the reality of the mourning?
Which one then is more acting?
Is it even possible that an act becomes: “the act,”
and what we name real,
consequently,
turn to, one of the acts?
If it is the one of the real,
shouldn't then a man's true mourning
be as dramatic as the man of the play,
with such a seemingly true sorrows?
The man who laments the universal heart!
The man of such extensible wails!
So, when is a man true to himself,
when he just yawl for his own,
when the sorrow is fresh
yet he needs to remain theatrical for the sake of audience,
or he who acts
yet his laments come from the a genuine heart?
The man who mourns for the act in real,
or the actor whose mourning is real?
Shouldn’t a dramatic play, be as pure as a real mourning?
Shouldn't a man's true mourning be pure of acting?
couldn't an act of mourning be authentic both ways?
What does separate subjects from their images:
being an authentic pretender,
or being a mourner whose wail is not as authentic,
who is more after the spectacle,
trying to look authentic,
pretending,
he is not pretending his own image?
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(*) Refers to Marlon Brando's impossible acting in:: "Last Tango in Paris" when he laments over his dead wife.
