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Lady Gaga, Alejandro – An essay between the myth paradigm of the essential Macho-Man and the unconscious abyss of original sin



Eccentric? Avant-gardist? Modernist? Harmony of sequelaent  nightmare?

Nothing that you could perhaps think about … There, where you penetrate deep inside, not knowing whether you have been there, before in the anthropological, animal evolution, where everything that  surrounds us, fills us in emotion, falsely putting us to the test, seemingly sublime in feeling; heritage of  unconscious impulses of perpetuation, a mixture in-between Cain and Abel deep inside emotions, which is developing hard down into the field of the affect, pseudo-transforming us into beings with overwhelmed rational-emotive consciousness, in many moments of our lives, suffering, misunderstood by ourselves and others.

Alejandro, a chimera pseudo-forged in a volatile, sirenoid and amber manner, appears obsessively like springing from the abyss of the unconscious nothingness, petrified in the immutability of an existential sadism, announced in the beginning of the clip, by the cadence of the steps of Nazi cruelty, which enters into a soul with a propensity towards the submissive original desire. Initial frames of unbeatable force of male Cain fetishistic black-Gothic origin, multiplied by a number of male clones in the skin, in a symmetrical cadence, are to develop incipiently, having a sunset in the background, penetrating without recourse or axiom, maybe only categorical in virtue of an existential, biblical Eden sin, < the guilt without fault>, of a woman  meant to wear it after biting the, which may have originated in divine creation or not, or maybe the masochistic suffering principles were uncreated, not made, but born outside, just beyond the known essence of the Creator; She-Lady, remaining the prey of Sophocles’ original guilt, the eternal loot of  the essential sin of being a woman, suffering, giving birth, bearing  to support, not entering into the sanctuary, remaining the pleasure- pain victim.

Then after a few tens of seconds after biting the apple, the Lady victim, in a psychedelic blindness, glasses covering her eyes, black horn-shaped, presumed to fall into nothingness of Alejandro’s breakthrough, maybe desired, and opening them one at a time, she only sees a bier bearing her dead, bloody heart. Images of Alejandro wearing a helmet incrusted with spines succeed each other, expressing the force of Cain’s crime. The bride Lady only gets a wedding of her dead soul, in a black veil, a dark wedding, lifeless, where for a split second, from the back, appears patronally, triumphantly wearing a satanic miter , Death, like the victorious godmother keeping in her hand instead of  a candle, the inspiring source of a pipe with the smoke of incense.

destined to choose this boy, Alejandro, then because … why?, is it the poisoned apple, the essence of female unjustified sin?

… .. may the heart on the bier, bloody, come to live again, from a clinical death , stepping back to the verge of dying in a last masochistic pleasure of  a guilt that perhaps … she is not guilty of … but still having the , a mystery whose voice cannot be heard shouting her name , at every shout her heart beatings, stirs the last throbs of her life, almost as short as a flash …. unjust painful pleasure of  being killed, leaving only the part of the Lady, in whose soul the heart of love sadistically pierced by steel spines no longer beats….it died, leaving behind the black bride, alive in body but dead in the soul’s heart, in a lost setting with a face without tears, that cannot flow any more, into a mélange of pleasure-pain, like a Byzantine icon. If the soul’s heart died, then, the Lady on the bier of death, perhaps consciously desired, implores death….>, the release being late to occur.

She cannot die, the masochistic orgasm pain must be lived to the end because, indeed, it was created for the purpose of the final pleasure, the bride on the bier turns red, trying to change the victim into the victimizer, and sublimes the masochism of this new revival, in sadism, originating in the guardian masochism , which has changed her; subjecting, introjecting a dominant role, type Dominna, , which is not appropriate, in which it seeks to reflect on a Fernando, adopting the   position, who is obliged to choose … deceiving herself in a last maniac exhibition, almost naked because
Alejandro obsessively appears in her prayers, not to be called out in the new condition of Dominna, transformed into the sadistic mistress of Fernando, through an uncertain, shaky and impassible untrue metamorphosis- associated with images of the Lady with the same dancers, macho-Cain clones from the beginning of the clip, turned into seemingly gay dancers, thus impossible. So it appears impossible to transsublimate her innocent sin of masochistic creation, like Eve of Eden, in the sadistic warden who seeks an already lost revenge.

Roberto, a last attempt, closes the trigon, while the Lady with a last gasp tries what is left, a pure bride in a decent black dress, not masochistic, or sadistically guardian transformed, but in a white dress, the middle path, as a last rescue chance, in the confusion whose end of the tunnel has no longer any light….
The end, recalls in a hallucinogenic way stages of the metamorphoses surging from an effort, beyond its power to understand the resources, or maybe springing from the playful volcano of her unconsciousness, compulsory subjected to the existential masochism –the poisoned apple.
Trying to lead the playful pleasure all the way at any cost …. But Alejandro is no longer there …. and even if he were, she split from the beginning her heart and killed it, in an impassible and an impossible love-pain, when one of the two is destined to be dead…

Psychoanalytic approach – Article written by Dr. Adrian Paler, MD Psychiatrist, Hospital Obregia Alexandru, Bucharest

Translation: Silviu Andresan

Authorised by Assoc.Prof.Dr.Anca Badulescu – Departament of Anglo-saxon phylology, Transilvania University Brasov

Articol original RADAR DE MEDIA 

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