The bear did not move. The calm statement of this work suggests a man firmly in control. It is happening all the time. He added that this movement is very simple. 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. He stood upright, his paw raised ready for battle, his eye fixed on mine as if he could read my soul there, and when my thrusts were not meant seriously he did not move.
But knowledge, although the source of uncertainty when fragmentary.. He had never found his way back to that Paradise of innocence, in spite of all conceivable efforts. Kleist recounts how a beautiful young man, one who is old enough to be attractive to women and who is therefore aware of the sexual appeal of his own body, sees himself in a mirror resting his foot on a stool. In the bourgeois literature of the Enlightenment and idealism, in Shaftesbury, Schiller and Goethe, grace is a moral concept meaning the congruence of external and inner beauty, gracefulness and dignity. 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. You’ll easily see how it fits in here. We humans must have it to rest on, to recover from the effort of the dance.
Heinrich von Kleist
It is nothing other than the path taken by the soul of the dancer. One evening in the winter of I met an old friend in a public park.
It happened that we marionettenthdater recently seen in Paris the figure of the boy pulling a thorn out of his foot. First of all a negative one, my friend: They urged me to attack. Kleist’s essay pivots around a reference to the third chapter of the book of Genesis, the story of esasy Fall of Man, the discovery of that self-consciousness which establishes and perpetuates human isolation.
Dqs lifted his foot a second time, to show me, but the effort was a failure, as anybody could have foreseen. 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. Puppets need the ground only to glance against lightly, like elves, and through this momentary check to renew the swing of their limbs.
From that day, from that very moment, an extraordinary change came over this boy. On the one hand, Kleist poses the question of ideal theatricality.
But, seen from another point of view, this line could be something very mysterious. He had recently been appointed principal dancer at the local theatre and was enjoying immense popularity with the audiences. 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. One morning, when I was in his room, he offered me a rapier.
Kleist-Museum: room 16
We humans must have it to rest on, to recover from the effort of the dance. He assured me that the mute gestures of these puppets gave him much satisfaction and told me bluntly that any dancer who wished to perfect his art could learn a lot from them. He said he was confident that, if he could get a craftsman to construct a marionette to the specifications he had in mind, he could perform a dance with it which neither he nor any other skilled dancer of his time, not even Madame Vestris herself, could equal.
My friend looked into a tall mirror just as he was lifting his foot to a stool to dry it, and he was reminded of the statue.
This is the point where the two ends of the circular world meet. I told him I had been surprised to see him more than once at the marionette theatre which had been put up in the market-place to entertain the public with dramatic burlesques interspersed with song and dance. I asked him if he thought the operator who controls these puppets should himself be a dancer or at least have some idea of beauty in the dance.
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.
Grace and Affectation
Fiche technique Heinrich von Kleist Country Germany. And especially a more natural arrangement of the centres of gravity.
The self-consciousness gets in the way. I accepted his challenge but, as it turned out, I had the better of him. But just as a section drawn through two lines suddenly reappears on the other side maironettentheater 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.
Heinrich von Kleist | World Encyclopedia of Puppetry Arts
You’ll look for it in vain in most of our dancers. When I was on my way to Russia, I spent some time on the estate of a Baltic nobleman whose sons had a passion for fencing. I wanted to know how it is possible, without having a maze of strings attached to one’s fingers, to move the separate limbs and extremities in the rhythm of the dance. In the bourgeois literature of the Enlightenment and idealism, in Shaftesbury, Schiller and Goethe, grace is a moral concept meaning the congruence of external and inner beauty, gracefulness and dignity.
He countered this by saying that, where grace is concerned, it is impossible for man to come anywhere near a puppet. They offered an aesthetic justification for an unconscious quality that Kleist projected into his marionettes, to the extent that it, as an artistic character, had no reflexive consciousness.
This is an excellent quality. I told him I was well aware how consciousness can disturb natural grace. This was his fighting posture.