Tonight's Program
The Censored Symposium: Plato's Dialogue and the Missing Erotic Performance
Plato's Symposium is a celebrated artifact of ancient Greek culture, often studied as a static text that captures the intellectual and philosophical discourse of its participants. However, my thesis is that Plato's Symposium is incomplete without considering the live performance that took place during the event, particularly an erotic performance that was censored or bowdlerized by Plato himself. Plato's Symposium recounts a gathering where guests, including Socrates, engage in a series of speeches praising the god of love, Eros. While the text provides a rich narrative and philosophical discourse, it lacks the dynamic, performative aspects that were integral to the original symposium. The symposium was not merely a literary event but a ritual banquet that included libations to the gods, hymns, and the consumption of wine. The speeches were delivered in a specific context, with the participants interacting with one another and the environment, creating a multi-sensory and immersive experience.
I propose that this immersive experience included an erotic performance, which was a common feature of the ancient Greek symposium. Such performances were often a blend of music, dance, and sexual acts, designed to enhance the festive and celebratory atmosphere. Plato, in his role as the writer and editor, chose to omit or downplay this aspect of the symposium, leaving it to the reader's imagination to reconstruct the full nature of the event. The modern dinner theater, while far removed from the high classical standards of ancient Greek tragedy, shares a surprising affinity with the symposium. Both forms of entertainment combine food, drink, and intellectual discourse, but modern dinner theater often emphasizes the performative and interactive elements that are missing from the written text of The Symposium. This suggests that the live performance aspect, including the erotic elements, is essential to the full appreciation and understanding of the symposium.
The paradox of kitsch in this context is that while modern dinner theater can be easily labeled as kitsch, it retains elements of the same communal and intellectual engagement found in the original symposium. The term "kitsch" often carries a negative connotation, suggesting a lack of artistic depth or sophistication. However, the enduring popularity and cultural significance of The Symposium suggest that the human desire for such gatherings is not easily dismissed. By examining the parallels between Plato's Symposium and modern dinner theater, we can explore the dual nature of kitsch and the importance of performance. On one hand, kitsch can be seen as a form of entertainment that is accessible and enjoyable, reflecting the democratic and communal aspects of human culture. On the other hand, it can be dismissed as lacking the high standards of classical art, yet it still holds a place in the cultural landscape.
In this chapter, I will argue that Plato's Symposium is incomplete without considering the erotic performance that (we presume) took place during the event, and which was censored—or bowdlerized—by Plato himself. By restoring the performative element, including the erotic aspects, we can gain a deeper understanding of the symposium's cultural and artistic context, and challenge the binary opposition between high art and kitsch. Face the facts. You have not been told the whole truth, not about Plato's Symposium, and a lot of things besides. To the well-known cultural reference, "You can't handle the truth." I argue yes, you can! This perspective in intended to bring into high relief the enduring appeal of combining food, drink, and entertainment—in short, "low" pleasures—with refined conversation, in a social setting, as an instance of an eternal tradition that continues to thrive in modern times.
It so happens that several renowned Greek sculptors were contemporary with Plato, who lived from about 428 to 347 BCE. Among these sculptors are Myron, Phidias, and Polykleitos. Myron, an Athenian sculptor known for his sensitive representation of the human figure, particularly in suspended motion and balance. One of his most famous works is the "Discobolus," or Discus Thrower. Phidias, a renowned sculptor who was granted the role of chief artist in the construction of the Athenian Parthenon by Pericles, is equally famous for his monumental sculptures of Athena and Zeus, including the Athena Parthenos, and the seated Zeus in the Temple of Zeus at Olympia. Polykleitos, also known as Polyclitus, was famous for his precise depictions of the human body through his mathematical approach to ideal proportions. His work "Doryphoros," or Spear-bearer, is one of the outstanding sculptures of the Classical Greek era. These sculptors contributed significantly to the development of Classical Greek art during Plato's lifetime, shaping the aesthetic and technical standards of their era.
The celebration of the beauty of the naked human body was a distinctive feature of Classical Greek sculpture. This approach reflects the Greek ideal of physical perfection and the belief that the human body, especially when nude, represents the pinnacle of aesthetic and moral excellence. Classical Greek sculptors sought to create idealized representations of the human form, emphasizing balance, proportion, and harmony. This idealization was often based on the mathematical principles of beauty, such as the golden ratio. While idealization was the chief feature of classical Greek sculpture, it also aimed for a high degree of naturalism, and truth in realism. Sculptors like Polykleitos and Praxiteles were known for their ability to capture the subtleties of the human form, including muscle definition, posture, and movement, both idealized, and in the particulars of the human being represented.
The celebration of the nude human body was deeply rooted in the Greek culture of truth. The nude figure was often used in depictions of gods, heroes, and athletes, reflecting the importance of both physical fitness and athletic prowess in Greek society, as well as sound mind. Two complementary examples are the "Doryphoros," or Spear-bearer, by Polykleitos. It is a prime example of the idealized male nude, showcasing perfect proportions and a dynamic, balanced pose. It stands alongside the "Aphrodite of Knidos," by Praxiteles, one of the earliest known depictions of a nude female figure in ancient Greek sculpture. It represents the Greek ideal of female beauty in its beauty and dignity. The nude figure in Greek sculpture often carried symbolic and allegorical meanings. For example, the nude male athlete could represent the virtues of courage and strength, while the nude female represented both desire and the foundation of the State: new citizens. This appreciation of the naked human body in Classical Greek sculpture continues to influence art and aesthetics to this day, continuing service as the ideal Greek art and culture.
Plato's Symposium is a celebrated artifact of ancient Greek culture, often studied as a static text that captures the intellectual and philosophical discourse of its participants. However, my thesis is that Plato's Symposium is incomplete without considering the live performance that took place during the event, particularly an erotic performance that was censored or bowdlerized by Plato himself. Plato's Symposium recounts a gathering where guests, including Socrates, engage in a series of speeches praising the god of love, Eros. While the text provides a rich narrative and philosophical discourse, it lacks the dynamic, performative aspects that were integral to the original symposium. The symposium was not merely a literary event but a ritual banquet that included libations to the gods, hymns, and the consumption of wine. The speeches were delivered in a specific context, with the participants interacting with one another and the environment, creating a multi-sensory and immersive experience.
I propose that this immersive experience included an erotic performance, which was a common feature of ancient Greek symposia. Such performances were often a blend of music, dance, and sexual acts, designed to enhance the festive and celebratory atmosphere. Plato, in his role as the writer and editor, chose to omit or downplay this aspect of the symposium, leaving it to the reader's imagination to reconstruct the full nature of the event. Given the topic of Eros and the context of the symposium, I nominate the Aphrodite of Knidos by Praxiteles as the centerpiece of the social affair. The Aphrodite of Knidos, one of the most famous sculptures of the ancient world, is a masterpiece of marble that captures the beauty and sensuality of the goddess of love. This sculpture, with its graceful form and subtle eroticism, would have been a perfect focal point for the symposium, enhancing the theme of Eros and providing a visual and artistic complement to the intellectual discourse.
The modern dinner theater, while far removed from the high classical standards of ancient Greek tragedy, shares a surprising affinity with the symposium. Both forms of entertainment combine food, drink, and intellectual discourse, but modern dinner theater often emphasizes the performative and interactive elements that are missing from the written text of The Symposium. This suggests that the live performance aspect, including the erotic elements, is essential to the full appreciation and understanding of the symposium. The paradox of kitsch in this context is that while modern dinner theater can be easily labeled as kitsch, it retains elements of the same communal and intellectual engagement found in the original symposium. The term "kitsch" often carries a negative connotation, suggesting a lack of artistic depth or sophistication. However, the enduring popularity and cultural significance of The Symposium suggest that the human desire for such gatherings is not easily dismissed.
By examining the parallels between Plato's Symposium and modern dinner theater, we can explore the dual nature of kitsch and standards of good taste. On one hand, kitsch can be seen as a form of entertainment that is accessible and enjoyable, reflecting the democratic and social aspects of human culture. On the other hand, it can be dismissed as lacking the high standards of classical art; but in so-doing, it is held to the same high standards as the critic's, of art. Criticism places the object on a pedestal. That which is deemed unworthy of the connoisseurs' attention, on the one hand, is discretely removed by the serving persons. Bad art should likewise be quietly ignored. Loud ridicule, on the other hand, elevates its object to the target of a food fight.