Il teatro della pietà
La fondazione del corpo politico nella Passione di Cristo
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This essay aims to demonstrate that the political ethos of pietas and the theatrical rendering of pain, studied
in particular by Hannah Arendt and Luc Boltanski, are rooted not only in Christian compassion of the origins
but also in medieval drama centring on pietas. By providing a highly realistic and moving representation of
the agonized body of Christ, Medieval Christian society sought to convert sinners and to awaken the fervour
of the faithful, but it also kindled the disinterested and concrete help of the faithful towards the poor, the sick,
the unfortunate as well as towards pilgrims, through associations, care institutions and hospitals. The martyred
body of Chriust was seen as a specific denunciation of social injustice, of the afflictions and sufferings
of the body politic, the Church and the State. The fundamental difference between the ethos of pietas in the
Middle Ages versus the modern age consists in the transition from local perception of the unfortunate to a
decidedly universal view. Over the centuries the ethos of pietas was intensified through the gradual inclusion
of all men in the category of the unfortunate to succour, sweeping away any discrimination based on family,
local or regional rivalry, ethnic or social concerns, racial prejudice or religious bias.
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