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In the discussion we had last year at Siegen, in this regard, emphasis was put on the sort of emptiness that has to be obtained from mind and body by a Japanese warrior-artist when doing calligraphy, by an actor when acting: the kind of suspension of ordinary intentions of mind associated with habitus, or arrangements of the body. It’s at this cost, said Glenn and Andreas, … that a brush encounters the “right” shapes, that a voice and a theatrical gesture are endowed with the “right” tone and look. The soliciting of emptiness, this evacuation—very much the opposite of overweening, selective identificatory activity—doesn’t take place without some suffering. … The body and mind have to be free of burdens for grace to touch us. (en) |
