Re: Different motives

From: Diane Hodges (Diane_Hodges@ceo.cudenver.edu)
Date: Wed Jan 31 2001 - 15:06:49 PST


the language of motives and the habitual divisions of internal/external,
or individual/society,
well,
perhaps these are beholding to psychology more than something social
and historical? what about emotions? bio-sociality? what about desire?
i'd hate to see such a rich site for discussion be reduced to the same
discourse-limitations.

Stanislovsky was committed to kinds of drama and _affect_ that were
substantially different from the works of Brecht, or Artaud.
what is the role of the audience here?
who's desires drive which activity?
how helpful is it to think of the arts in contexts of 'motives' when so
much of
the passion of art is invested in exposing the repressed?
the social realms can be repressed, as much as the person, but to
differentiate these complex relations into one-or-the-other, well,
hell. actors have families.
histories. audiences have investments. there is a lot of passion and
emotion in theatre, a lot of desire, a lot of bodies who weep or laugh
or groan or yelp -
much more than traditional psychology-discourses can articulate, don't
you think?
diane

  
**********************************************************************
                                        :point where everything listens.
and i slow down, learning how to
enter - implicate and unspoken (still) heart-of-the-world.

(Daphne Marlatt, "Coming to you")
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diane celia hodges

 university of british columbia, centre for the study of curriculum and
instruction
==================== ==================== =======================
 university of colorado, denver, school of education

Diane_Hodges@ceo.cudenver.edu



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