Feeling Too Much or Too Little: The Emotional Tightrope in Life and Performance

Korean_mask-Hahoe_mask-02

The charming 16-year-old could not watch the news. She was depressed, but not the victim of misfortune. Her parents had not mistreated her, life had not singled her out for unfairness. Rather, she was exquisitely sensitive to the pain of the human condition, to its terror — to the thousand little and big hurts, even those suffered by strangers. The news, with its roll-call of daily disaster, was unbearable.

All of this seemed in her nature, not her nurture.

For those of us not so fragile, there is a choice: how much of life do we let in (with its possibility of pleasure and risk of pain) and how much do we screen out to protect ourselves. Therapy patients, performers, and fictional characters display a range of answers. They are the subject of this essay.

The teen I mentioned was moved by art more than most, particularly those works that captured passing beauty and inevitable loss. The music of Mahler and late Schubert were on her list, along with the authors Virginia Woolf, Audrey Niffenegger, John Irving, and Julian Barnes.

Should this sound too sad, then I will tell you something else: the young woman was truly alive, not so numbed and deadened as the adamant stones that some of our fellow humans become. She perceived drama in commonplace events, while for most of the rest of us, those happenings pass unremarkably.

If we are lucky, our lives might be described as “balanced.” Our psychic doors are open enough to experience at least a partial glimpse of the dazzle and wonder of life, even if pain still finds entry points we hope to have limited to a degree. Indeed, in the music of Mahler and Schubert, my patient found both pleasure and pain.

Are most of us too defended against life and its inevitable disappointment and injury? By comparison to this troubled girl, do we risk a muted and gray existence? Does self-protection come at the cost of becoming unsympathetic to the misfortune around us and insensitive to the overwhelming sensuality of life, as well?

Princeton University psychologist Susan Fiske and her colleagues have evaluated something akin to these questions. Research participants reacted to a variety of photos. She and Lasana Harris predicted their experimental subjects would respond by dehumanizing extreme outgroups like the homeless. Pictures of those individuals produced a type of brain activation typical of disgust — the same kind of cerebral response characteristic of viewing objects, not people. Perhaps, unlike the sixteen-year-old mentioned before, some of us protect our emotions by responding to fellow humans as things. The evidence of history indicates disgust with such “Untermenschen” can lead to casual mistreatment and much worse.

A performance given by the storied English singer Kathleen Ferrier (seen in the newsreel above) and the conductor Bruno Walter illustrates part of our human dilemma: the tension between feeling too much or too little.

A 1947 Edinburgh Festival rendition of Gustav Mahler’s Das Lied von der Erde (The Song of the Earth) was the occasion. This hour-long song-symphony portrays the transient beauties of life and concludes in a 30 minute Abschied (Farewell), to a friend and to life itself, based on ancient Chinese poetry.

The work’s last moments are a whisper of exquisite, heart-rending beauty as the singer reflects on the fact that while human life passes away, the world itself will bloom anew in spring forever. The last word — “forever” or “eternally” (“ewig” in German) — recurs several times, more and more muted against the fading consolation of the orchestra.

According to Neville Cardus, a critic for the Manchester Guardian, Ferrier was “unable to enunciate (at least some of) the closing words.” Moved by the music, she broke down.

Ferrier would soon became a celebrated singer in a life shortened by cancer, but she was then new to this music and in awe of Bruno Walter, the 70-year-old conductor who had been the composer’s disciple and given the work its world première in 1911. Cardus tells the story of his arrival backstage after the curtain calls:

I took courage and forced my way into the artists’ room, where I introduced myself to this beauteous (unself-consciously beauteous) creature. As though she had known me all her life she said: ‘I have made a fool of myself, breaking down like that.’

When Walter came into the room she went to him, apologizing. He took her hands, saying: ‘My child, if we had all been artists like you, we should every one of us have broken down.’

For Cardus, it was one of the greatest, most life-changing performances he heard in a long career as a music critic.

Ferrier achieved this without every last word — the rare occasion when an artist triumphs over an important rule: to have emotional expression and emotional control, thus enabling the audience to experience the feelings without restraint.

It is ironic that to recreate emotions one must, to some degree, constrain them; never forgetting she is a singing actress playing a part and not her offstage self or a member of the audience. Ferrier’s failure to observe the rule caused her embarrassment, no matter the generosity of Bruno Walter’s consoling words.

Those of us who are not artists confront our own version of the same dilemma Ferrier faced: emotional control threatening to mute life’s music and dull its pleasures versus emotions undermining the ability to live, and leaving one unprotected from “The Heart-ache and the thousand Natural shocks that Flesh is heir to,” as Hamlet said.

In the theater, the dilemma is depicted in Peter Schaffer’s play Equus, where the audience exits the performance wondering whether the destructive, super-heated intensity of a teenager’s uncontrolled feelings are, perhaps, less a problem than the bound-up, dryly analytic, over-controlled existence of the psychiatrist who treats him.

The Original Poster for the German Film,

The Original Poster for the German Film, “The Lives of Others”

The 2006 Academy Award winning film, The Lives of Others, offers still another example. Gerd Wiesler, a Stasi (East German Secret Police) officer, begins the movie as a friendless man, deadened to everything except his duty. His superior gives him the task of monitoring a playwright. Closely observing the rich intellectual, social, and romantic life of this artist both enlightens the officer and opens up his emotions.

While Wiesler acquires this vulnerability at great cost, he also becomes capable of enlivened human contact and empathy.

What, then, are we left with in this consideration of human emotion?

Dyscontrol, routine. Intensity, flatness. Sentiment versus stoicism.

Over sensitive, insensitive. Excitability versus indifference. Empathy versus disgust.

Dazzled, dulled. Passionate, sterile. Open, closed. Vulnerable, safe.

Or walking the knife’s edge in between.

Your choice.

The first image includes Korean Hahoe Masks. The author is Julie and the photo was sourced from Wikimedia Commons.

The African Dip: Thoughts on Passive-Aggressiveness, Powerlessness, and Acceptance

The  Flying Turns

My dad occasionally took me to a legendary Chicago amusement park called Riverview when I was a little boy. I was dazzled by the roller coasters, the “Waterbug” ride, and something called the “Rotor.” The latter required you to enter a circular room which spun on a central axis until the velocity and centrifugal force were sufficient to pin you against the wall, just as the floor dropped away.

But, as small as I was, it is a sideshow called The Dip that I remember most vividly. Today I’d like to use this politically incorrect carnival attraction as a spring-board to a few thoughts on the expression of indirect anger that sometimes is called “passive-aggressive,” as well as a therapeutic approach to setting aside the temporary upsets that are a part of any life.

Black men in cages. That is what “The Dip” involved.

Unbelievable, perhaps, as we think about it in 2010. Each man sat on a stool inside the cage. In front of the cage, off to the side a bit,  stood a small circular metal target that was attached in some fashion to the stool, perhaps electronically, but more likely mechanically.

For less than a dollar, you could purchase three balls to throw at the target, one at a time. If you struck the target solidly, the stool on which the man sat collapsed, and he dropped into a pool of water underneath the cage. You might have seen similar “dunk tanks” at various fund-raising events, often giving students the chance to dunk their teachers.

Harmless fun? Not so in the case of a black man doing the sitting and a white man trying to knock him off his seat.

This sideshow was once reportedly called, “Dunk the N****r,” later “The African Dip,” and finally “The Dip.” It was eventually shut down by a combination of Negro outrage and the increasing disgust of white people to the offensiveness of its implicit racism.

The black men were in a relatively powerless situation — almost literally, “sitting ducks.” But, they did what the situation allowed them to do so as to unsettle, tease, and otherwise disrupt the white pitcher’s aim. The Negroes were careful not to say anything too frankly insulting, lest they stir up the racism (and potential for less veiled violence) that was at the heart of the event.

But they would and could get away with belittling their adversaries athletic skill or throwing ability in a way that was amusing. If their comments distracted the opposition at all — got them to laugh (or the crowd to laugh at them) — or caused a break in the hurler’s concentration, the chance of staying on the seat improved a bit.

According to Chuck Wlodarczyk in his book Riverview: Gone But Not Forgotten, the caged men’s banter could include comments about one’s appearance: “If you were heavy, they’d call you ‘meatball.’ If you were thin, they might have called you ‘toothpick.’ If you were with a girl, they might have said ‘Hey fella, that ain’t the same girl you were with yesterday!'”

You don’t have to be a black man in a cage to have some experience of expressing anger indirectly. We’ve all done it. It takes many forms: talking behind someone’s back and mocking that person, being sarcastic, complaining to a co-worker’s superior rather than to the offender’s face, neglecting tasks you have been assigned unfairly, and procrastinating. These passive-aggressive words or acts are rarely very satisfying. The anger doesn’t dissipate; the grudging discontent usually continues; nothing positive happens.

The sense of powerlessness and lack of control that the passive-aggressive individual experiences can come to dominate that person’s emotional life, rather than allowing him to put effort into changing the power dynamic or to remove himself from a position of weakness.

Unfortunately, for some of those who feel powerless and injured, even a passive-aggressive action seems impossible. Consequently, they take a more uniformly passive role. They defer to others, try to avoid giving offense, act meekly, and position themselves under the radar. All that does, however, is give them second class status, just as it informs bullies that they are easy targets.

Someone in this situation, who repeatedly feels mistreated but isn’t able to take on those who inflict the injuries directly, needs to ask himself a few questions. Why do I put up with it? What am I afraid of? Am I really as powerless as I feel? Am I perhaps overreacting? What would happen if I were more direct? Is there any way to get out of the situation I am in?

Cognitive Behavior Therapy (CBT), which aims to quell and counter irrational thoughts, is often helpful in dealing with a lack of self-assertion and the fear that is usually associated with it. Equally, it gives you practice (sometimes using role-playing within the therapy session) in a gradually ascending hierarchy of challenging situations that require an assertive response.

Some CBT therapists, much like ancient Stoic philosophers, employ an “acceptance-based” psychotherapy and integrate this Zen-like element into their treatment. Why, they might ask you, do you so value the minor indignities of daily life and of opinions and behavior of boorish persons? Is it really a good idea to spend the limited time of your life being upset over rudeness from a tardy repairman or a fender-bender accident you didn’t cause — things that will be of no significance in a week, a month, a year?

Put differently, there will always be injustice, and some of it must simply be accepted as the nature of life and of living. Not every fight is worth fighting about, not every slight is intended. If your skin is so thin that you are regularly being upset by people, perhaps you are valuing the approval and opinions of others too much.

For those who ask “Why me?” those same therapists might say, “Why not you — you are alive, aren’t you, so you are subject to all the same things that can affect any other person.” And, as the Stoic philosophers and Zen practitioners would tell us, if we can accept this vulnerability as part and parcel of living, thereby assigning it less meaning and taking it less personally, our lives will be more satisfying — less fraught with anguish, anger, and hurt.

This is not to say society should have tolerated the indignity and racism of “The Dip.” There are times when the indirect, but pointed wit of the caged men is the best course of action; and, many occasions when the force of your personality must be brought to bear by confronting injustice. But some combination of directness in taking on unfairness and forbearance in accepting things — in allowing oneself not to sweat the small stuff — tends to produce as good a result as life will allow.

Of course, you have to figure out what the small stuff is and what other things really do matter to you.

Meditation is usually a part of the treatment enabling you to stay in the moment, and let go of your attachment to passing feelings and thoughts, worries and regrets, and anticipations and fears. To be preoccupied with just such temporary upsets causes you not to be able to fully experience what is going on in the present and determine what is really of importance in your life.

By encouraging and training you in meditation, the counselor  is attempting to give you a method to achieve a state of psychological enlightenment that (without using words) helps you to distinguish the transitory aggravations, disappointments, worries and anxieties of life from whatever matters the most to you, so you can put your effort into the things of greatest value in your life.

Some final questions:

  1. Do you often find yourself fighting over things others consider to be small?
  2. Do you frequently feel put-upon but are capable only of a passive-aggressive response?
  3. Do you (too easily and too often) assume a fetal position with others (metaphorically speaking), who come to think of you as an easy target and treat you badly (in part) because they know you will not stand up for yourself?

If you have answered any of these questions in the affirmative, you might benefit from asking a couple of other questions:

  1. What does this mode of living cost me?
  2. Am I willing to do the work necessary to change?

If the cost is substantial and you are eager to change, then a therapist can be of assistance. Only then will you be ready to get out of the cage, real or not, in which you find yourself.

The image above is the Flying Turns, a toboggan-style ride that was one of the many attractions that made Riverview Park famous.