Is it possible, and in what way, to connect two seemingly incompatible phenomena, an Aeschylean tragedy and a reality show? One thing is indisputable, the reality show has become a mirror and "school of morality" of our days saturated with media messages, just as, in a qualitatively different way, in ancient Greece they were theatrical games and rituals performed in honor of the cult of the god Dionysus.
Taking on a moral role and dealing with the tragic fate of the hero and the universal issues of human existence, ancient tragedy offered viewers the opportunity to rise above the everyday, to "purify" their thoughts and look for the key to understanding a higher order of the world in the events on stage.
Twenty-six centuries later, before the eyes of an audience of millions entangled in the webs of media obsessions, the conflict between mythical heroes and gods was replaced by reality. Trying to play themselves at the behest of others, the "heroes" of reality shows, staging "real life" and sacrificing privacy, freedom and authentic behavior, compete to win monetary prizes. In addition to the monetary motive, the constant isolation and exposure in front of the cameras is justified by the all-pervading intangible aspiration to become a "star" overnight.
Literally simulating "real life", the participants, according to the idea of the creators of media texts and owners of media capital, deprive themselves of individuality and authentic behavior.
They also renounce the possibility of searching for any "higher" meaning, surrendering to the simulated reality of media obsessions. There is no place for death and suffering, except metaphorically, no lofty thoughts and heroic deeds; in the feverish search for viewership of the "appearance company", they declare all moral values invalid, and reality and life are brutally trivialized and stripped to the point of meaninglessness. Together with them, we laugh when we should cry, and we cry when we should laugh.
Justification, regardless of everything else, is found in the pursuit of "total entertainment", attracting advertisers and making money.
When the "curtains are raised" and the cameras are turned on, in accordance with the basic principle of Machiavellianism that "the end justifies the means", everything is allowed and possible.
If we leave the differences aside, let's try to find out what Aeschylus' tragedies and the most watched reality shows in Serbia, "Big Brother" and "The Farm" have in common? The heroes of Aeschylus' tragedies and the aforementioned shows are only apparently free to do what they do. Their "life" takes place under constant surveillance and in the shadow of superior authorities. Its ultimate outcome is decided by others. If the fate of Aeschylus' heroes depends on the will of the gods, then the actions and "fate" of the participants of the shows "Big Brother" and "Farm" are largely determined by the will of Big Brother and the Cooperative, that is, the audience. Can we then talk about the phenomenon of the tragic?
Justification, regardless of everything else, is found in the pursuit of "total fun"
In Aeschylus, the tragic situation arises from the conflict between men and gods, since the hero-man opposes their will in his desires. In "Big Brother" and "The Farm" there is no "higher knowledge" and lofty goals, "God is dead", seemingly free heroes do not decide on anything, but agree to blindly obey someone else's will. The "all-seeing eye" of our days makes the most senseless demands on its "tragic heroes". These demands satisfy the exhibitionist, voyeuristic and fetishist tendencies of the audience, which also decides from its armchairs who will "get off" from the "stage of life" and when.
The real life of the heroes of today's reality shows merges with the imaginary reality mediated by the media. Their "tragic guilt" is reflected in the fact that they succumbed to the hubris of accepting a simulated life deprived of freedom. Their "sinking" takes place before the eyes of an audience of millions who are themselves "tragic heroes" because they consciously agree to participate in their own spiritual annihilation.
(The author is an assistant professor at the Faculty of Pedagogical Sciences, University of Kragujevac, Jagodina)
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