It made him angry, and this increased his confusion. As I had now recovered somewhat from my astonishment I fell on him with my rapier. We know that we have no choice but to be knowing creatures, knowing in both body and mind. It wasn’t just that he thought it capable of loftier development; he seemed to be working to this end himself. But every attempt on his part to repeat the pose fails. It is happening all the time. Here, grace is an aesthetic of effect, unconcerned with whether there is dignity behind the charm, truth and goodness behind the beauty, or whether the beauty is a mere act to win over others.
On the one hand, Kleist poses the question of ideal theatricality. Maison de Heidelberg, For affectation is seen, as you know, when the soul, or moving force, appears at some point other than the centre of gravity of the movement. The biblical story is a mythical representation of constant human awareness of self and therefore of separation Kleist was part of the Romantic tradition. The performer, on the other hand, sees in the mirror of his observer that his own inability to be graceful is an effort to hide effort.
It appears as a disturbance to the observer, one that reveals the art of self representation as a brittle and illusory construct. According to Kleist there is no way back. As he picked it up he said, half in kleiat and half in jest, that he had met his master but that there is a master for everyone and everything – and now he proposed to lead me to mine.
The craftsman who could make such remarkable limbs could surely build a complete marionette for him, to his specifications. He had übrr been appointed principal dancer at the local theatre and was enjoying immense popularity with the audiences.
No human fencer could equal his perception in this respect. They offered an aesthetic justification for an unconscious quality that Kleist projected into his marionettes, to the extent that marionettenyheater, as an artistic character, had no reflexive consciousness.
Nearly every thrust I made found its mark.
Grace and Affectation
But just as a section drawn through two lines suddenly reappears on the other side after passing through infinity, or as the image in a concave mirror turns up again right in front of us after dwindling into the distance, so grace itself returns when knowledge has as it were gone through an infinity.
By now I was almost in the same state as the elder brother had been: Certainly, I thought, the human spirit can’t essah in error when it is non-existent.
When I was on my way to Russia, I spent some time on the mariojettentheater of a Baltic nobleman whose sons had a passion for fencing.
The biblical story is a mythical representation of constant human awareness of self and therefore of separation He looked me straight in the eye. It wasn’t just that he thought it capable of loftier development; he seemed to be working to this end himself.
Über das Marionettentheater – German Literature
The self-consciousness gets in the way. They know that they are naked and feel that they must cover themselves.
The movements he made were so comical that I was hard put to it not to laugh. I wasn’t sure if I was dreaming, seeing such an opponent. He began to spend whole days before the mirror.
For Kleist, the marionette is subject to the laws of mechanics, avoiding the unilateral nature of human individuality, and obeying the wishes of the puppeteer, which thus makes it the perfect interpreter. He can confirm it, word for sssay, just as I’ve described it. Their knowingness fractures their being. Les Solitaires intempestifs, Why shouldn’t I believe it from you?
Heinrich von Kleist | World Encyclopedia of Puppetry Arts
For affectation is seen, as you know, when the soul, or moving force, appears at some point other than the centre of gravity of the movement.
As a matter of fact, I’d noticed it too, at the same moment, kleiist The puppeteer can transpose himself into the centre of gravity of the marionette. Kleist’s work was dominated by the tension between his inner certainty of the validity of the human soul life and the apparent impossibility of discovering meaning in outer existence. If a man wasn’t familiar with that initial period of all human development, it would be difficult to have a fruitful discussion with him about later developments and even more difficult to talk about the ultimate situation.
This made me laugh.
Heinrich von Kleist
Birth Frankfurt an der Oder, Germany It is nothing other than the path taken by the soul of the dancer. Heinrich von Kleist followed family tradition and became an army officer, but left in to study philosophy and maths. You’ll easily see how it fits in here. But, seen from another point of view, this line could be something very mysterious.