By R. Darren Gobert
The Mind-Body Stage offers a dazzlingly unique photograph 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 recommendations from literary learn, philosophy, theater heritage, and function experiences and attracts on ratings of files (including letters, libretti, non secular jeremiads, aesthetic treatises, and architectural plans) from a number of countries.
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Extra info for The mind/body stage : passion and interaction in the Cartesian theatre
The proximate cause of a perception is therefore not the seen object itself but its image as transmitted by the animal spirits, an image finally as chimerical as a thought. But the animal spirits do more than facilitate visual perception. They also facilitate passionate perception by causing whatever physical perturbations they are accustomed to causing. 1. The process of visual perception, from René Descartes, La dioptrique, 49, in Discours de la méthode pour bien conduire sa raison, & chercher la verité dans les sciences, plus la Dioptrique, les Météores et la Géométrie qui sont des essais de cette méthode (Leiden: Jan Maire, 1637).
But note, too, the strange toggling between singular and plural that Malebranche performs, and his ambiguous pronoun-antecedent reference, which leave us finally in doubt about who is being moved and what role, if any, individual agency plays in the passionate process. Such confusions are rhetorically potent given the subject matter that Malebranche addresses. 74 The theater’s response to worries such as those of Malebranche was to temper rather than to intensify the intersubjective experience between actors and audiences.
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). 51 Consider the reprisal of the corporal metaphor at the end of the ballet’s second act. This act has focused on the glories of Peace, so its emotional register has appropriately shifted. Panic Terror has been banished. Significantly, however, terror is not displaced by an unfeeling reason but rather by a more salutary emotion, joy.