It does not have tragedy without the threatening presence of the death. Summarizing what it was said, so that if it has a considered context tragicoflico, must be had: a specific type of agency; a potential for the conflict between agency and the objective order; the exclusion of possibilities of the agents ' ' limparem' ' its auto-image. Action these that if they relate to the stage in palco, being the spectators in state of compatible spirit what it occurs with the staged sort. According to Aristotle, catarse is a word that means the purificao emotional, physical, mental and religious. Through the experience of compassion and fear, the spectator of the tragedy would be collated with the purificao of the soul of these passions, seeing them projected on the personages of the part, allows itself to see deserved punishment inevitable; but without trying punishment it said he himself. Many of us, that we are these spectators, even so let us be far from understanding the ways and the reasons to sharpen our look and imagination, we know important quo these elements are for conquering a place for this sort in specific cultural situations.
On the other hand, the tragedy blossomed in the century dezessete because that age a time of maximum balance in the transistion enters an objective vision of the world (Christian) and for a centered culture in the subjectivity. The age of the Lights, that represented the tragedies of Voltaire, offered the teatral scene of the end of century XVII, heroic victims, to the step that its dramaturgos failed in producing true heroes tragic. Of the beginning of century XIX in ahead, the word ' ' objetividade' ' it started to be something that was felt as obstacle and resistance to the accomplishment of beautiful projects and desires. Today, marxist horizon of redemption seems to have forever if lost.