The cultural revolutionary wants to show how roles can be stretched, pulled apart, combined with other roles, and used incongruously. He acts out of a loosened sense of what it means to occupy a role. In this way he helps disrupt frozen connections among social stations, life experiences, and stereotyped forms of insight and sensibility. He thereby carries into the drama of everyday personal relations the effort to free sociability from its script and to make us available to one another more as the originals we all know ourselves to be and less as placeholders in a system of group contrasts.
Roberto Mangabeira UngerRelated topics
apart combined drama effort everyday free freeze group insight less life personal revolutionary role script sense sensibility show sociability social system way means relations acts connections stationsRelated quotes
For me, the roles are the secondary part of the whole process to me strangely. It's about who you're being directed by and who the other actors are. Whenever I read a script, I think, 'wow, that's a great story,' and invariably I want to play one of the other characters, and the process of working out how to play the character you're offered is to work out why you aren't playing the other characters in a way. Maybe that's why I play roles of various different sizes. The challenge is not necessarily always the lead role, but in this case [Blue Jasmine] it was all those things combined.
Cate Blanchett
To me, I took a militant attitude towards sounds. I wanted sounds to be a metaphor, that they could be as free as a human being might be free. That was my idea about sound. It still is, that they should breathe ... not to be used for the vested interest of an idea. I feel that music should have no vested interests, that you shouldn't know how it's made, that you shouldn't know if there's a system, that you shouldn't know anything about it ... except that it's some kind of life force that to some degree really changes your life ... if you're into it.
Morton Feldman
As long as we try to project from the relative and conditioned to the absolute and unconditioned, we shall keep the pendulum swinging between dogmatism and skepticism. The only way to stop this increasingly tiresome pendulum swing is to change our conception of what philosophy is good for. But that is not something which will be accomplished by a few neat arguments. It will be accomplished, if it ever is, by a long, slow process of cultural change – that is to say, of change in common sense, changes in the intuitions available for being pumped up by philosophical arguments.
Richard Rorty
Theater of Cruelty means a theater difficult and cruel for myself first of all. And, on the level of performance, it is not the cruelty we can exercise upon each other by hacking at each other's bodies, carving up our personal anatomies, or, like Assyrian emperors, sending parcels of human ears, noses, or neatly detached nostrils through the mail, but the much more terrible and necessary cruelty which things can exercise against us. We are not free. And the sky can still fall on our heads. And the theater has been created to teach us that first of all.
Antonin Artaud
For the fundamental fact of human psychology is that society, instead of remaining almost entirely inside the individual organism as in the case of animals prompted by their instincts, becomes crystallized almost entirely outside the individuals. In other words, social rules, as Durkheim has so powerfully shown, whether they be linguistic, moral, religious, or legal, etc., cannot be constituted, transmitted or preserved by means of an internal biological heredity, but only through the external pressure exercised by individuals upon each other.
Jean Piaget
