The World of Carnival – The Carnival of the World: The Vision of Carnivaled Reality in Miloš Forman’s “Amadeus”
Abstract
Tereszczuk says that Amadeus is a story of the relationship between a fossilized illogical world and an individual who is bigger than the world. Mozart’s manners and attitude towards artistic activity disclose and ridicule absurdities governing the world; he offers something that disrupts its structure. Mozart’s laughter is his attribute and trademark. The laughter is ambivalent; it is an obscene giggle (element of chaos) and God’s laughter (divine order). It is a carnival laughter because on the one side, it negates what is nonsensical (negative aspect), and on the other hand, it corroborates the existence of a higher order (positive aspect). In the end, it becomes the ultimate truth as it is tantamount to access to wisdom; it manifests itself as a logical element, is a commentary to the absurdities of the world and unveils the absurd rights of the world governed by convenances. In the film, Mozart is contrasted with his jealous rival Salieri. While the former represents the logics and principles of carnival, is a clown at the Emperor’s court, the latter brings order and conformism.
Keywords:
Miloš Forman, carnival, laughterReferences
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Authors
Joanna Tereszczukkwartalnik.filmowy@ispan.pl
University of Warsaw Poland
Studentka filologii polskiej na Uniwersytecie Warszawskim.
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Copyright (c) 2004 Joanna Tereszczuk
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