「✈」「jetlag」
travels and (mis)adventures
Replying To 
06/02/2009 at 09:01pm (UTC)
metavolition: (Default)
Perhaps another point to be made is that the actors were seemingly trapped or crushed by two-dimensional objects, yet the observer who watches from the third dimension sees a clear escape, just as in life, situations which seem inescapably burdensome may only be so from a certain frame of reference. Yet this third dimension also denies the use of the shapes as support and renders the conquering of the shapes impossible: the difficulties and the joys of life go hand-in-hand, and to consider one trivial also nullifies the other. The distinctions of n dimensions may become degenerate in n + 1 dimensions, and…ah, shit. There goes my attempt at trying to talk like a hums major.

Although I'm not sure I completely agree with your analysis, particularly the point where the claim is made that the play makes it clear that there is no sense of permanence. While it is true that the tangram is constantly changing and rearranging, the seven shapes themselves are constant, and any variation always contains a larger whole composed of five triangles, a square, and a parallelogram. Though the extensive properties are indeed in constant motion, the intensive properties of the system remain quite stable. Similarly, the adaptations of humans to their environments can be, in a sense, a rearrangement of certain constant concepts. Concepts such as intellectual ideals, social support, fervent feelings, or patient perseverance are rearranged and reprioritized to serve the needs of the individual, and in these shifting environments serve as a reminder of the permanence of the human soul.
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