What I personally got from the fluke viewing of High School Musical was the idea that a commune - like the human body - can be purely spontaneous.
The body, as has been.mentioned in various ways, can't not be spontaneous in order to function actively.
Morphogenesis gives rise to athletic form. While the athletic female figure has come in for some prudish covering-up of late, the 76 apogee was seen in Nadia Comaneci's tendon-stressed torso.
The physical stresses of the body work on the psyche by such means as endorphin release.
The notion of a psyche with no connection to the physical is an impossibility. With the physical expression comes the loosening of sexual.inhibitions; we are in a more Dionysian area.
As has been mentioned previously, the sexual expression of female workers in.fields is inevitable given.themixture of tightness and looseness in the clothing, accentuating power of limbs and free motion.
Prudishness can appear when the head becomes detached from the body as is happening in modern times.
Going back to the film, the pleasure principle could be seen to work for the entire commune, if it's true to say dancing and singing en masse establish a positive feedback of sensual activity.
On an even wider stage, the nymphs of the grottos are expressions of psyche in the secret places. On the northern plateau, Ymir bestirs himself with the boulders of his bones.
The physical connects with psyche everywhere, but is lost to a society of political words and economic spending.
This world of the head is convincing to the ego being composed of resolved space of straight lines.
The mirror convinces, at the same time as cutting the sensual and expressive. This occurs in every landscape. There is the difference between classic Disney and Pixar. Musically, in comparison of modern with classical.
To begin with, the sheer energy held me - but by the 10th climax, I began to rebel. There is a point where unremitting emotionalism seems a form of coercion, an unwillingness to give the listener space to think or feel [cf CC Beck on ET].
Tchaikovsky's Pathetique symphony, by comparison, seemed a model of artistic tact and balance. Yes, the conductor Gianandrea Noseda and the players gave the distress in the first movement and the despair of the last a huge - almost oppressive - weight. But what stayed in the mind were the quieter moments: the tender clarinet solos of Chris Richards, and the swaying grace of the second movement. Music doesn't have to shout to move us. (Ivan Hewett, DT)
Springiness and sexualiy give way to heavy realism. Modern artists (apart from comic book) seem to have great trouble drawing expressive physique as opposed to copying photos.
By cutting off the physical world, one even wonders if this affects the divorce rate! Everything physical affects the psyche, and a heavy-duty world of the head has no access to nymphs in their chattering lightness and gaiety.
The world of the metamorphosis of line and of dirt and cleanliness where squalor is washed away by the rainy season. Where the fertile female figure weaves resplendent.
