By R. Darren Gobert
The Mind-Body Stage presents a dazzlingly unique photo of 1 of the main consequential and complicated classes within the histories of contemporary theater and philosophy. Interdisciplinary and comparatist in scope, it makes use of methodological innovations from literary learn, philosophy, theater historical past, and function reports and attracts on rankings of files (including letters, libretti, non secular jeremiads, aesthetic treatises, and architectural plans) from numerous countries.
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Extra resources for The mind/body stage : passion and interaction in the Cartesian theatre
Example text
49 The poem stresses the indivisibility of the entire subject, its union of body and soul. ” As a performance, a ballet would have made this point potently. After all, in it the physical union of soul and body is neither philosophically contemplated nor deduced by Cartesian logic. It is enacted by embodied subjects: Beaulieu, his dancers, and the rest of the participating court. What preserves and guarantees this union is the emotions. They knit body to mind as the animal spirits bear representations from one to the other about what the body is doing (its actions, the soul’s passions) and about what the mind wills it to do (the soul’s volitions).
Elaborate sets have been built in the new perspectival style—which guides spectation toward an upstage vanishing point—that take full advantage of the technical capabilities of Christina’s salle de ballet, designed by the talented Italian architect Antonio Brunati and inaugurated less than eight months before, in April. 4 Andreas Düben, the queen’s German Mind-Body Union master of music, has composed music for the vocal solos that introduce each of the three acts; these solos are encomia to Peace, and indirectly to the queen whose ability to quell decades-long war the ballet celebrates.
As Erec R. Koch reminds us in his book The Aesthetic Body, the subject is “passionately shaped by contact with others, by socialization. ”63 Descartes describes a model in which emotions in one group cause emotions in the other and in which vectors of movement, caused by animal spirits in one set of bodies, influence the vectors of movement of another set of bodies. Mind-Body Union The porous nature of this relationship resonated in a culture that worried about the impiety and influence of actors, and work like Descartes’s must have done little to alleviate the anxiety of the theater’s opponents, vigorous in the period in France, as well as England.