“In Discourse and Truth Foucault sets forth a genealogy of criticism, focusing on the term parrhesia, which played a central role in ancient philosophy: parrhesia means in Greek roughly the activity of a person (the parrhesiastes) ‘saying everything’, freely speaking truth without rhetorical games and without ambiguity, even and especially when this is hazardous. The parrhesiastes speaks the truth, not because he is in possession of the truth, which he makes public in a certain situation, but because he is taking a risk. The clearest indication for the truth of the parrhesia consists in the ‘fact that a speaker says something dangerous –different from what the majority believes’. According to Foucault’s interpretation, though, it is never a matter of revealing a secret that must be pulled out of the depths of the soul. Here truth consists less in opposition to the lie or to something ‘false’, but rather in the verbal activity of speaking the truth: ‘the function of parrhesia is not to demonstrate the truth to someone else, but has the function of criticism: criticism of the interlocutor or of the speaker himself’”.
(…) “Through his criticism the parrhesiastes enters into exposed situations threatened by the sanction of exclusion”.
(…) “over the course of time, a change takes place in the game of truth ‘which –in the classical Greek conception of parrhesia- was constituted by the fact that someone was courageous enough to tell the truth to other people… there is a shift from that kind of parrhesiastic game to another truth game which now consists in being courageous enough to disclose the truth about oneself’”.
RAUNIG, Gerald. The Transversal Concatenation of the PublixTheatreCaravan: Temporary Overlaps of Art and Revolution. IN: Art and Revolution. Pág. 211-214. Semiotext(e),
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