In the Hegelian schema, the relationship between the Master and Slave is fundamentally constituted by mutual recognition, wherein the Master is unable to exist without the Slave's recognition (Hegel, 1807). Here, Salieri's recognition of Mozart's superiority and his simultaneous self-identification as the inferior, consequently places him into the Hegelian 'Slave' archetype. This stirs an ardent aspiration within Salieri to dismantle Mozart's stature and establish his own supremacy.  Evaluating this interaction under the lens of Marxist theory, one can interpret the Mozart-Salieri dynamic as a metaphorical reflection of the struggle between musical elitism and bourgeois acceptance (Marx, 1844). Salieri, as the court composer, epitomizes the established musical and social order, and Mozart's disruptive genius, therefore, represents a threat to this order. A person may even conclude that the relationship between Salieri and Mozart offers a fertile ground for examining the ideological conflict between Enlightenment and Romanticism (Porter, 2000). The Enlightenment principles, as embodied by Salieri, champion rationality, order, and conformity, while Mozart's avant-garde compositions symbolize the Romantic values of emotional expressiveness, imagination, and individualism.   Throughout the play, Salieri demonstrates a meticulous adherence to established musical rules and conventions. He diligently follows the prescribed compositional techniques, striving for perfection within the confines of established norms. This adherence to rationality and order aligns with the Enlightenment's emphasis on reason, logic, and the pursuit of knowledge. Salieri's music reflects these principles, characterized by its technical precision, balance, and adherence to established musical structures.

                 OLD SALIERI

                         Why?  Would God choose an obscene 

                         child to be His instrument? It was 

                         not to be believed! This piece had 

                         to be an accident. It had to be!

Salieri's resentment towards Mozart is not merely rooted in personal envy but also stems from a clash of philosophical ideologies. The conflict between Enlightenment rationality and Romantic individualism creates tension and animosity between the characters. Salieri, representing the established order, is threatened by Mozart's artistic freedom and the transformative power of his music. 

In parallel, Shaffer's 'Amadeus' facilitates an illuminating exploration of Lacanian psychoanalytic theory, specifically, the concept of the 'Other'. For Lacan, the 'Other' houses our unconscious desires and fears that essentially guide our actions (Lacan, 1966). Salieri's 'Other' is epitomized by his recognition of Mozart's genius and his self-perceived inadequacy as a composer. On the opposite side of the medal, Mozart's 'Other' is manifest in his yearning for societal validation and, more pertinently, his father's approval. Shaffer's play is set within a societal context marked by stringent hierarchies and norms. Here, the Lacanian 'Other' can be extrapolated to the collective unconscious that stipulates societal norms and expectations. Salieri's acquiescence to these expectations unveils the 'Other's' formidable control over the individual. Conversely, Mozart's defiance of these norms signals his resistance against the 'Other', though it is not without ramifications 

With a needle in one hand and thread on the other, sewing these threads together, the interaction between Salieri and Mozart in 'Amadeus' is a microcosm of larger societal, philosophical, and psychological currents. One can argue that Shaffer deploys the Hegelian Master-Slave dialectic to depict the power dynamics and intricacies of mutual recognition in their relationship. Salieri, recognizing Mozart's genius, is catapulted into a perpetual struggle for superiority, thus embodying the Hegelian 'Slave'. Mozart, in his role as the Master, undermines the societal norms and disrupts the established musical order, thus reflecting the tensions between Enlightenment rationality and Romantic individualism. The Lacanian concept of the 'Other' further enriches our understanding of this narrative. Salieri's and Mozart's unconscious fears and desires, dictated by the 'Other,' significantly shape their actions and interactions. For Salieri, it is his recognition of Mozart's genius and his self-perceived inadequacy. For Mozart, it is his relentless quest for societal approval and his longing for his father's acknowledgment. The societal context of the play further amplifies the influence of the 'Other' as represented by societal norms and expectations. Salieri's conformity to these norms and Mozart's resistance against them exemplify the power dynamics between the individual and the 'Other'. 

In essence, Shaffer's 'Amadeus' is a potent exploration of philosophical concepts and psychological constructs, offering profound insights into the human condition. I view that Shaffer's masterful interweaving of Hegelian and Lacanian theories allows us to delve into the depths of Mozart's and Salieri's psyches, and by the proxy extentsion of theater, our own. Through a close reading of 'Amadeus', we see the intersection of historical reality, philosophical theory, and personal psychoanalytic understanding. The dovetail of these dimensions in the play provides us with a comprehensive framework to comprehend the complexities of the human psyche and societal structures. With this in mind, the practical aspect of the play's production could pose a challenge as well - to truly embody a Marxist perspective, the play's staging, costume, and overall aesthetics should ideally reflect the socio-economic disparity and class struggle intrinsic to Marxist theory. The opulence and grandeur typically associated with the Viennese court and the bourgeoisie would need to be juxtaposed with the simplicity and scarcity that symbolize the proletariat class. While Mozart is not literally part of the proletariat, his audacious disregard for the norms established by the musical and social elite can be highlighted by adopting a starkly different aesthetic for his character. His costume could be less refined, and his demeanor more boisterous, visually setting him apart from the rest of the court and indicating his symbolic alignment with the proletariat class. 

Simultaneously, the use of music as the 'means of production' in the narrative adds another level of complexity. The revolutionary power of Mozart's music, as it challenges the status quo, could be further emphasized through innovative staging techniques, by visually symbolizing the disruption caused in the Viennese court through dynamic light and sound effects whenever Mozart's music is played. For me, the narrative voice of the play presents another challenge - as Salieri is the narrator of the story, there is a risk of his perspective, a viewpoint from the bourgeoisie, dominating the narrative. This could potentially dilute the Marxist themes. To mitigate this, I would incorporate  Brechtian dramaturgy, such as the use of placards or direct audience address, to introduce an alternative, explicitly Marxist commentary on the unfolding events.  Mounting 'Amadeus' from a Marxist perspective presents several challenges due to its historical setting and narrative structure, these hurdles can be creatively addressed through thoughtful characterization, innovative staging, and the adoption of techniques from political theater. This approach could allow for an intriguing exploration of the power dynamics, class struggle, and ideological conflicts inherent in Shaffer's play, thus offering a fresh and nuanced interpretation of this classical piece. 

Diving deeper into the Hegelian Master-Slave dialectic, however, scholars have explored its nuances within the context of 'Amadeus' (Gadamer, 1975; Kojève, 1969). According to Hegel, the Master's existence is intrinsically tied to the Slave's recognition. In turn, the Slave gains self-consciousness through labor, where the product of labor represents the Slave's self-constitution (Hegel, 1807). In 'Amadeus', Salieri is haunted by his recognition of Mozart's genius, which undermines his status as the court's prime composer and marks the onset of his Hegelian slave consciousness. Gadamer (1975) argues that the Hegelian Master-Slave dynamic can be viewed as a struggle for dominance and recognition. In 'Amadeus', this dynamic is intensified by Salieri's recognition of Mozart's superiority and his desire to usurp Mozart's position. Kojève (1969) emphasizes the importance of the Slave's struggle in the dialectic, suggesting that Salieri's recognition of Mozart's genius represents a subjective death, wherein his identity collapses, and his existence becomes dependent on Mozart. However, the Lacanian concept of the 'Other' adds another layer of complexity to this relationship. The 'Other', according to Lacan, represents the symbolic order of language and law that shapes our desires and fears (Lacan, 1966). Fink (1995) proposes that the 'Other' can be perceived as a source of both desire and fear, a claim substantiated by the character of Salieri. His simultaneous adoration and hatred for Mozart mirrors this duality, revealing the immense power of the 'Other' in shaping the Master-Slave dynamic. The play becomes even more interesting when Mozart's relationship with the 'Other' is considered. Žižek (2008) suggests that the 'Other' is not just an entity that imposes societal norms but also a space that houses unspoken desires. For Mozart, the 'Other' represents his yearning for societal recognition, primarily from his father and the Viennese court. Despite his genius, Mozart's existence is marked by his desperate struggle for validation, displaying the power of the 'Other' over his actions and choices.  The interplay of these two theoretical frameworks provides a comprehensive lens to analyze the complex relationship between Mozart and Salieri. Far beyond a simple rivalry, their interaction becomes a philosophical exploration of selfhood, desire, recognition, and the role of societal norms. The scene from 'Amadeus' presents a power dynamic that aligns with the Master-Slave dialectic introduced by Hegel in the 'Phenomenology of Spirit.' The central characters, Salieri and Mozart, undergo shifts in their perceived roles as Master and Slave in this specific interaction. At the start, Salieri is the Master, his composition forms the event's core. Emperor Joseph II displays an appreciation for Salieri's talent by choosing to play his March: 

(Joseph) 

"Delightful, Court Composer. Would you permit me to play it as he comes in?" 

Salieri is accorded recognition and respect by the Emperor and courtiers, a validation that aligns with his role as Master. His social position and professional esteem are upheld by the court's deference to him. Salieri's composition serves as a representation of his masterful control of his craft, which he initially uses to structure the event.  However, upon Mozart's entry, the power dynamics swiftly take a turn. Mozart displays a quick understanding and intuitive grasp of Salieri's composition, proceeding to improvise and build upon it: 

(Mozart)

"Did you try this? Wouldn't it be just a little more -?" 

cont...

(Mozart) 

"Or this - yes, this! Better." 

His ability to manipulate and redefine Salieri's composition parallels the Slave's potential in the Hegelian dialectic to achieve self-consciousness and exhibit superiority through their work. Through his improvisation, Mozart asserts himself as an individual with a powerful and unique artistic capability. This act compels Salieri into a forced recognition of Mozart's genius, a critical turning point in the Hegelian Master-Slave dynamic. 

(Narrator)

"Salieri watches with a fixed smile on his face. The court watches, astonished." 

Salieri's forced smile reflects the discomfort and anxiety provoked by this confrontation with Mozart's genius. The court's astonishment is a significant reaction, indicating a collective shift in recognizing Mozart's talent and the imbalance in the previously established power dynamic. The unfolding event triggers Salieri's internal struggle, resonating with Lacan's psychoanalytic concept of the Other, which suggests how the unconscious of an individual shapes their fears and desires.  The power dynamic completes its full rotation when Mozart ends his performance on a triumphant note: 

 (Narrator) 

"The court watches, astonished. He finishes in great glory, takes his hands off the keys with a gesture of triumph - and grins."

Mozart's unabashedly proud grin at the scene's conclusion marks his ascendance to the Master's position, having asserted his superiority over Salieri. Conversely, Salieri's recognition of Mozart's talent, his internal struggle, and his consequent inability to maintain his initial position signals his fall into the Hegelian Slave's role.  Building on this motif, Mozart's death scene is poignant in its embodiment of the Hegelian synthesis; the master and slave, as it were, unite in a single, shared experience: Mozart, feverish and on his deathbed, narrates the composition of his Requiem to Salieri, marking a critical juncture in their tumultuous relationship. Salieri, in turn, transcribes Mozart's verbal discourse into musical notes, effectively placing himself in a submissive role to Mozart's genius. Yet, paradoxically, it is in this act of submission that Salieri transcends his own limitations and momentarily participates in Mozart's creative realm. Simultaneously, Mozart, through his guidance, gives life to his masterwork through Salieri, thereby synthesizing the master-slave dialectic. His seemingly triumphant grin at the scene's conclusion reflects his ascendance to the Master's position, having unequivocally asserted his genius over Salieri. Nevertheless, it also subtly conveys the toll this exhaustive demonstration of brilliance has taken on him, ultimately leading to his death. Contrarily, Salieri, despite recognizing Mozart's talent and engaging in the creative process, remains conflicted and is thus thrust into the Hegelian Slave's role: his participation in the creation of Mozart's final masterpiece illustrates an essential transformation and signifies an understanding of Mozart's artistic value, albeit too late. 

Rounding out these thoughts back to the ideas ranch as the sun sets on me, 'Amadeus' presents a profound exploration of humanity's psychological and philosophical landscapes. Its intricate narrative, woven with societal norms, power struggles, and a deep dive into the human psyche, establishes it as a masterpiece that stimulates philosophical inquiry and psychoanalytic introspection. It ultimately highlights the timeless relevance of humanities in understanding the dynamics of society and the intricacies of the human mind. To me, Peter Shaffer's play 'Amadeus' is a deeply intricate exploration of the interplay between Hegelian and Lacanian philosophical and psychological concepts, encapsulated in the dynamic relationship between the characters Salieri and Mozart. All of this could piont towards  how 'Amadeus' goes beyond the portrayal of a historical rivalry to explore larger societal, philosophical, and psychological currents. The interplay between the characters and their interaction with the societal norms and expectations showcases the complexities of the human psyche, identity, and societal structures, and also serves as a platform for the philosophical inquiry into subjectivity and recognition, a potent portrayal of the complex human psyche, and a reflection of the socio-economic and ideological struggles, making it a masterpiece of philosophical and psychoanalytic exploration. 

M. A. Aybar

References: 

Amadeus. (1979). By P. Shaffer. New York, NY: Harper & Row.

Gadamer, H. (1975). Hegel’s dialectic: Five hermeneutical studies. New Haven, CT: Yale University Press.

Hegel, G. W. F. (1807). The phenomenology of spirit. (A. V. Miller, Trans.). Oxford, UK: Oxford University Press.

Kojève, A. (1969). Introduction to the reading of Hegel: Lectures on the phenomenology of spirit. (A. B. Dallmayr, Trans.). New York, NY: Basic Books.

Lacan, J. (1966). Écrits: The first complete edition in English. (A. Sheridan, Trans.). New York, NY: W. W. Norton & Company.

Marx, K. (1844). Economic & philosophic manuscripts of 1844. (M. Miligan, Trans.). London, UK: Lawrence & Wishart.

Porter, R. (2000). Enlightenment: Britain and the creation of the modern world. New York, NY: Allen Lane.

Fink, B. (1995). The Lacanian subject: Between language and jouissance. Princeton, NJ: Princeton University Press.

Žižek, S. (2008). The sublime object of ideology. London, UK: Verso.