Thomas Ligotti’s “Teatro Grottesco” is a short story that dives into the concept of nihilism head-on and explores it at length through its narrator, who is a nihilistic prose writer trying to overcome the Teatro Grottesco, an organization that works like a system of morals.
To begin, the definition of nihilism must be established. Philosopher Friedrich Nietzche explains how “everything of the nature of freedom […] which exists […] has only developed by means of the tyranny of [the] arbitrary law” of systems of morals (Nietzche). He believes that any system of morals “teaches [people] to hate […] freedom, […] implants the need for limited horizons, [and causes] the NARROWING OF PERSPECTIVES” (Nietzche). In other words, he describes any given system of morals as a tool of oppression that we must overcome if we wish to be in control of our own lives. Therefore, nihilism is what is beyond this oppressive system of morals. There is no other option than “to initiate opposite estimates of value [in order] to put an end to the frightful rule of folly and chance,” therefore teaching individuals “to take NEW paths [and live by] his [or her own] WILL” (Nietzche).
In the underground society of “Teatro Grottesco,” the narrator lives by the title of a nihilistic prose writer. Although, the reader is never given the opportunity to read one of the narrator’s works. Nevertheless, the fact that the narrator is a nihilistic prose writer is key to the story. The narrator lives in an “artistic underworld” a place that is “favored by the Teatro,” a mysterious group that people don’t know much about (Ligotti 159). While some people claim that they’ve had interactions with the group, and other claim not to have had interactions with the group, the people in this community are always skeptical about what it is they hear about the Teatro. This is why the narrator decides to try and discover the secret behind the Teatro. The narrator soon understands that encounters with the Teatro “alter a person’s mind permanently, [which results in] the absolute termination of that artist’s work” (Ligotti 172). In consequence, the narrator decides to turn his “prose writings into an anti-Teatro phenomenon” (Ligotti 173).
The Teatro Grottesco works like how Nietzche perceives systems of morals. This group causes their victims to abandon their art and focus on more limited occupations, like “managing [a] supermarket” (Ligotti 169). The Teatro takes away from its victims “something which has made life worth living,” their artistic freedoms (Nietzche). The Teatro Grottesco evidently oppresses this society because of the fact that they are all highly artistic people. Stealing their artistic inspiration is like stealing their identities. It is not shocking that the narrator would like to turn his prose into an anti-Teatro phenomenon, because the entire concept of nihilism is anti-Teatro to begin with. The narrator wishes to overcome the wrath of the Teatro, which can only be explained as working like a peculiar system of morals.
In sum, Thomas Ligotti demonstrates to his readers through the narrator of the story and the Teatro’s embodiment of a system of morals that no matter how nihilistic a person is, there is no overcoming an oppressive system of morals.
WORKS CITED
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Ligotti, Thomas. “Teatro Grottesco.” Teatro Grottesco. London: Virgin Books Ltd, 2008. 159-181. Print.
Nietzche, Friedrich. Beyond Good And Evil. Trans. Helen Zimmern. The Project Gutenberg, Feb. 4, 2013. Web. Oct. 31, 2015.
To begin, the definition of nihilism must be established. Philosopher Friedrich Nietzche explains how “everything of the nature of freedom […] which exists […] has only developed by means of the tyranny of [the] arbitrary law” of systems of morals (Nietzche). He believes that any system of morals “teaches [people] to hate […] freedom, […] implants the need for limited horizons, [and causes] the NARROWING OF PERSPECTIVES” (Nietzche). In other words, he describes any given system of morals as a tool of oppression that we must overcome if we wish to be in control of our own lives. Therefore, nihilism is what is beyond this oppressive system of morals. There is no other option than “to initiate opposite estimates of value [in order] to put an end to the frightful rule of folly and chance,” therefore teaching individuals “to take NEW paths [and live by] his [or her own] WILL” (Nietzche).
In the underground society of “Teatro Grottesco,” the narrator lives by the title of a nihilistic prose writer. Although, the reader is never given the opportunity to read one of the narrator’s works. Nevertheless, the fact that the narrator is a nihilistic prose writer is key to the story. The narrator lives in an “artistic underworld” a place that is “favored by the Teatro,” a mysterious group that people don’t know much about (Ligotti 159). While some people claim that they’ve had interactions with the group, and other claim not to have had interactions with the group, the people in this community are always skeptical about what it is they hear about the Teatro. This is why the narrator decides to try and discover the secret behind the Teatro. The narrator soon understands that encounters with the Teatro “alter a person’s mind permanently, [which results in] the absolute termination of that artist’s work” (Ligotti 172). In consequence, the narrator decides to turn his “prose writings into an anti-Teatro phenomenon” (Ligotti 173).
The Teatro Grottesco works like how Nietzche perceives systems of morals. This group causes their victims to abandon their art and focus on more limited occupations, like “managing [a] supermarket” (Ligotti 169). The Teatro takes away from its victims “something which has made life worth living,” their artistic freedoms (Nietzche). The Teatro Grottesco evidently oppresses this society because of the fact that they are all highly artistic people. Stealing their artistic inspiration is like stealing their identities. It is not shocking that the narrator would like to turn his prose into an anti-Teatro phenomenon, because the entire concept of nihilism is anti-Teatro to begin with. The narrator wishes to overcome the wrath of the Teatro, which can only be explained as working like a peculiar system of morals.
In sum, Thomas Ligotti demonstrates to his readers through the narrator of the story and the Teatro’s embodiment of a system of morals that no matter how nihilistic a person is, there is no overcoming an oppressive system of morals.
WORKS CITED
---
Ligotti, Thomas. “Teatro Grottesco.” Teatro Grottesco. London: Virgin Books Ltd, 2008. 159-181. Print.
Nietzche, Friedrich. Beyond Good And Evil. Trans. Helen Zimmern. The Project Gutenberg, Feb. 4, 2013. Web. Oct. 31, 2015.