By Alan Bennett

A set of 4 Alan Bennett performs, with an creation by means of the writer which describes the historical past to their writing and function.

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Extra info for Alan Bennett Plays 1: Forty Years On, Getting On, Habeas Corpus and Enjoy

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Panic Terror has been banished. Significantly, however, terror is not displaced by an unfeeling reason but rather by a more salutary emotion, joy. And the corporal impediments associated with terror are likewise replaced by joy’s boons. 52 He means that the soul becomes aware of things that are good because of joy’s salubrious physical effects; thus, joy moves the soul to love objects that induce it. 54 If we see the ballet as allegorizing the passions—a view that I encouraged in noting how quickly its opening subordinates Mars to Panic Terror— we will read this nineteenth dance as self-reflexive.

Panic Terror has been banished. Significantly, however, terror is not displaced by an unfeeling reason but rather by a more salutary emotion, joy. And the corporal impediments associated with terror are likewise replaced by joy’s boons. 52 He means that the soul becomes aware of things that are good because of joy’s salubrious physical effects; thus, joy moves the soul to love objects that induce it. 54 If we see the ballet as allegorizing the passions—a view that I encouraged in noting how quickly its opening subordinates Mars to Panic Terror— we will read this nineteenth dance as self-reflexive.

33 In the seventh entrée of The Birth of Peace, a group of war-wounded soldiers dance. 34 This contrast between bodily injury and brain injury adumbrates the ballet’s preoccupation with disturbed bodies, disturbed minds, and their interrelationship. ”36 What is clear is that the performance of The Birth of Peace would have contrasted the handicapped soldiers’ bodies with another set of physically disordered bodies: the army fugitives who dance the fourth entrée. ”)37 While they are physically uninjured, their bodies would reflect Panic Terror, whose dance they immediately follow and whose capacity to cause corporal derangement is described in the libretto.

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