Abstract - Olympic Opera
Problem. In this essay I take up the issue of sport and art. The craftsmanship in combat sports determines that warrior creates a work of art (Martial Arts). Similarly, every sport can be considered as the art of movement. But this is not the understanding of the relationship between sport and art. The problem is whether the Olympic Game itself (in the singular) can be recognized as a separate art in analogy to opera seria. The Olympic Game is art because it is a theatricalization of the drama of the life of a man of peace.
Method. In recognizing the Olympic Game as a work of art, the semiological and axiological criterion of symbolic culture was used. The Olympic Games of the naive phase – the utopian philosophy of Olympism – were compared to the realistic-objective phase – theoretically probable.
Results. It has been shown that the Olympic Game is a ritual stadium event that symbolizes the idea of a cyclical rebirth of life. The sports agonism itself, which ends in reconciliation in friendship, symbolizes Olympic peace. For these two reasons, the stadium Olympics can be considered a work of art theatrum olympicum. The difference between the truce as a state of warlessness in ancient Olympia and the Olympic peace was explained.
Conclusion. There is no axionormative continuity in the making of the art of the Olympic Games. The Olympic Game is a work of art telling about the misfortune of war, which is overcome not by the state of no-war (ekecheiria), but by a completely real conversion to the path of a decent life. The law of friendship is not confirmed when haters and supporters of war crimes infiltrate the stadium. The real destroyer of sports law, due to his moral disability, cannot have access to the sign reality of the Olympic Games.