The author of the book, using images from the philosophy of Francis Bacon, calls the false idols of our time “idols of the theater.” Modern idols fill our lack of courage to be. On the postmodern screen, idols play the roles of Clan, Caves and Language. The clan gives birth to idols of blood and soil, compensating for the lack of courage to be part of the team. Caves give birth to sexual idols, compensating for the lack of courage to accept God. Language gives birth to market idols of political hysteria, compensating for the lack of courage to be oneself. The era of tradition did not presuppose “idols”, but only the Theater itself - the Sublime, the stage of which blocked the Gap of death with the Radiance of Antigone, the event of the Crucifixion. Only by deceiving did the actors tell the truth. In a society of hypocrites, no one hides anything, but nothing is true anymore. The truth is broadcast directly and therefore ceases to be the truth. The sublime is lost and replaced by destructive laughter. If you convince a person that dying is fun, he will kill with special cynicism. The author contrasts the society of idols with Logos - a newly conceptualized Tradition: not the corporate weight of a nostalgic past, but a collective meaning, passed through the prism of the individual consciousness of a subject, voluntarily open to the universe, capable of combining cosmicity and patriotism, freedom and responsibility. Saved in PDF A4 format publishing design.