In the discussion we had last year at Siegen, in this regard, emphasis was put on the sort of emptiness that has to be obtained from mind and body by a Japanese warrior-artist when doing calligraphy, by an actor when acting: the kind of suspension of ordinary intentions of mind associated with habitus, or arrangements of the body. It's at this cost, said Glenn and Andreas, ... that a brush encounters the "right” shapes, that a voice and a theatrical gesture are endowed with the "right” tone and look. The soliciting of emptiness, this evacuation-very much the opposite of overweening, selective identificatory activity-doesn't take place without some suffering. ... The body and mind have to be free of burdens for grace to touch us. (Jean-François Lyotard)

In the discussion we had last year at Siegen, in this regard, emphasis was put on the sort of emptiness that has to be obtained from mind and body by a Japanese warrior-artist when doing calligraphy, by an actor when acting: the kind of suspension of ordinary intentions of mind associated with habitus, or arrangements of the body. It's at this cost, said Glenn and Andreas, ... that a brush encounters the "right” shapes, that a voice and a theatrical gesture are endowed with the "right” tone and look. The soliciting of emptiness, this evacuation-very much the opposite of overweening, selective identificatory activity-doesn't take place without some suffering. ... The body and mind have to be free of burdens for grace to touch us.

Jean-François Lyotard

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acting actor body brush calligraphy cost discussion emphasis emptiness free gesture grace habitus japanese kind last mind opposite ordinary overweening place regard right say soliciting sort suffering suspension take theatrical tone touch voice year glenn

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