By Erving Polster
Erving Polster significantly expands the information and considering at the improvement of the self. this significant publication deals therapists new methods of considering, in addition to particular strategies to aid sufferers become aware of a robust and fit experience of self.
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Additional info for A Population of Selves: A Therapeutic Exploration of Personal Diversity (Jossey Bass Social and Behavioral Science Series)
Truth and nature,” for Davies, seem to entail toning down not just dress, but theatrical style in general. Actors who showed their self-consciousness in either mode were suspect as professionals and as men. DaviescommentsonCibber’s Wolsey that his “deportment was, I think, as disgusting as his utterance. . He affected a stately, magnificent tread, a supercilious aspect, which he displayed by waving up and down a roll of parchment in his right hand; in short, his whole behavior was so starchly studied, that it appearedeminently insignificant, and moreresembling his own Lord Foppington than a great and dignified churchman” (Dramatic Miscellanies 1:41).
The actor’s sexuality is excessive and out of control, as we can see from the satiric verses about Betterton; the transgressive and stigmatized sexual excess of the actor can also take the form of “sodomy”—culturally defined as a confusion of proper objects. The “Satyr” proceeds from Betterton’s heterosexual excesses to the so-called perversions of “B——” Nokes: You Smockfac’d Lads, Secure your Gentle Bums For full of Lust and Fury See he comes! ’Tis B—— Nokes, whose unwieldy ——— C O L L E Y C I B B E R’ S B U T T 27 Weeps to be buryed in his Foreman’s ——— Unnatural Sinner, Lecher without Sence, To leave kind ———, to dive in Excrements.
Beginning early in the eighteenth century the marginalization of actorsas“feminized”malesbecamecomplicated,inpopulardiscourse about the theater, by a growing tendency to professionalize the actor’s liminal position in relation to the social structures built around class and, increasingly, work. His status as somehow “not-male” was naturalized through a discourse of professionalism in opposition to the seventeenth-century discourse of the body and sexuality. ” Charles Gildon’s 1710 Life of Thomas Betterton uses the vehicle of theatrical biography to set down, at considerable length, “rules” for acting.