By Edward Curtin
-- C. Wright Mills, The Sociological Imagination, 1959
"'Our own death is indeed, unimaginable,' Freud said in 1915, 'and whenever we make the attempt to imagine it we can perceive that we really survive as spectators.' It is thus the very habit of military situations that turn them theatrical. And it is their utter unthinkableness: it is impossible for a participant to believe that he is taking part in such murderous proceedings in his own character. The whole thing is too grossly farcical, perverse, cruel, and absurd to be credited as a form of 'real life.' Seeing warfare as theatre provides a psychic escape for the participant: with a sufficient sense of theatre, he can perform his duties without implicating his 'real' self and without impairing his innermost conviction that the world is still a rational place. Just before the attack on Loos, Major Pilditch testifies to 'a queer new feeling these last few days, intensified last night. A sort of feeling of unreality as if I were acting on a stage".'"
-- Paul Fussell, The Great War and Modern Memory
whose modernisation has reached the stage of integrated spectacle
is characterised by the combined effect of five principal factors: incessant technological renewal, integration of state and economy, generalised secrecy, unanswerable lies, and eternal present . . . ."
-- Guy Debord, The Society of the Spectacle
An actor's life for me..
An actor's life is fun"
-- Walt Disney, "Pinocchio"
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