By David E. Fenner
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In the theatre, when the cats are not dancing or singing on stage, they roam around the audience, soliciting the audience to pet them and show them where the litter box is. When one is petting an actor, it is hard to imagine oneself Distanced from the production. A second sort of counterexample to Psychical Distance is when the object, instead of involving the audience through negating Distance, creates over Distancing between itself and the spectator. An intriguing example of this is Tom Stoppard's The Real Thing, where the production begins with a play inside of the main play.
We escape by appreciating the univer sal, the timelessness, the cessation of want and hurt, in art objects. Defining " An" 49 For Schopenhauer, it is through music, specifically formal music, that we are best given the opportunity for escape. Contemplation of formal music, like that of Bach, goes direcdy to the heart of things. When we appreciate art, we view it disinterestedly, divorcing ourselves from our personal inter ests and desires. In doing this, we may enjoy the art for its own sake, not as fulfillment of some desire we harbor, but as a means of experiencing what is truly real.
An intriguing example of this is Tom Stoppard's The Real Thing, where the production begins with a play inside of the main play. In characteristic Stoppard style, the audience does not know that the play they initially see on stage is a play inside the play. When they realize this, they are taken aback. One finds herself at a great Distance from the original play (the play inside the play). Another example of this is the play M. Butterfly. The principle character, Pinkerton, continually breaks from the action of the play to explain to the audience what is going on, in both the sequence of events and his own mind.