Themes and Meanings (Masterplots II: Drama, Revised Edition)
Tango, like many of Sawomir Mroek’s plays, contains allusions to the political and social situation of Poland in particular and the Western world in general. Like many Polish playwrights, Mroek was fascinated by the figure of Hamlet and saw the prince of Denmark as a prototype for the modern intellectual. Like Hamlet, Arthur is an intellectual who is faced with a world “out of joint,” the disintegration of his family and his country, and who feels compelled to attempt to “set it right.” Like Hamlet and all intellectuals, he is inclined to philosophical speculation rather than to determined, forceful action, and so he has only “words, words, words” to put up against the corruption of his environment. Incapable of decisive action, he berates himself for his indecision; instead of taking command to establish a new regime, he nostalgically dreams of the old order and convinces himself that restoring the old forms and ceremonies will also restore the validity of the old ideas. He does not want to acknowledge that these values (personified by his grandmother) have become anachronisms as a result of the nihilistic revolution of his parents’ generation. Arthur, a product of this revolution and of the upheavals of the Western world after World War II, longs for a new order, a structure that would give him moral and political guidance, but he has nothing to put up against this lack of order but abstract philosophy and empty formality.
(The entire section is 539 words.)
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