The paper demonstrates Plato's efforts to emancipate reason from the influence of mythological tradition developed among others by 'myth-creative' mimetic art that plays at mass audience's heart strings (Plato's 'Ion' is watched by twenty-thousand strong audience). As a result, the sphere of affects were marginalized later on by Christianity. Shakespeare appears here as one of the first liberators of that affective sphere, and as a fighter for artists' dignity, especially theatre artists. Brecht appears as a representative of the next wave of emancipation, who, like Plato before him, tries to empower the public and make him a subject. The theme of an actor and the fight for his dignity is an example of development of the significance of individuality in Europe's history.
Aleksander Ochocki, Uniwerrsytet Warszawski, Instytut Filozofii, ul. Krakowskie Przedmiescie 3, 00-047 Warszawa, Poland
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