Jump to ContentJump to Main Navigation
The Mind-Body StagePassion and Interaction in the Cartesian Theater$
Users without a subscription are not able to see the full content.

R. Darren Gobert

Print publication date: 2013

Print ISBN-13: 9780804786386

Published to Stanford Scholarship Online: January 2014

DOI: 10.11126/stanford/9780804786386.001.0001

Show Summary Details
Page of

PRINTED FROM STANFORD SCHOLARSHIP ONLINE (www.stanford.universitypressscholarship.com). (c) Copyright Stanford University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in SSO for personal use.date: 06 June 2020

Cartesian Acting; or, Interiors

Cartesian Acting; or, Interiors

Chapter:
(p.84) 3 Cartesian Acting; or, Interiors
Source:
The Mind-Body Stage
Author(s):

R. Darren Gobert

Publisher:
Stanford University Press
DOI:10.11126/stanford/9780804786386.003.0004

This chapter concerns acting after Descartes. It considers the Cartesian notion of interiority, whose ramifications are glimpsed in rehearsal burlesques of the period, such as The Female Wits, George Villiers's The Rehearsal, and Samuel Foote's Diversions of the Morning. These burlesques borrowed from Molière's L'Impromptu de Versailles, which represented the relationship between actors' interiority and their physiological expressions. Molière thus anticipated the terms worked out in Charles Le Brun's Conférence sur l'expression générale et particulière, famous for inspiring treatises on “natural” acting in both France and England, such as Foote's Treatise on the Passions. Le Brun's theory, however, could not account for the particularities of mind-body union supplied by the individual actor. Thus the period saw the rehabilitation of the actor's reputation: a picture of actors as inherently more passionate than non-actors transformed into a picture of actors in greater control of their emotional channels.

Keywords:   Descartes, Molière, Charles Le Brun, L'impromptu de Versailles, George Villiers, Samuel Foote, The Female Wits, interiority, acting theory, subjectivity

Stanford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us.