INFP Camil Petrescu's "Patul lui Procust" (Procrustean Bed)

Your reprimands are devoid of utility, like the anger of someone who knocks on the wrong neighbor's door, instead of knocking on the door of the neighbor they're really looking for; and just like it was with the previous letter, and just like it is right about now, they have weakened my will to make the effort of explaining the idea that even attempts at clarification are often fruitless.*

I came over that day with my arm full of flowers ... He had not been expecting me ... I had only wished to relive a moment . . . something from the past, and I subjected myself to this endeavor like you would a single glass of wine when you know that you cannot tolerate more than one glass. But the servant delivered a note to me when I rang. A detestable envelope, of a pale blue, approaching white. It's as if a poisoned thought had scattered into my bloodstream and dessicated my skin. I didn't know how to respond, nor did I even bother to read the note, since its contents had become indifferent to me. At other times, I would immerse myself in investigating motives like someone trying to find the irregular underground water source in a cave. But for me in that moment there was only an immeasurable sadness for my happiness and for the flowers I had in my arms. I suddenly regretted that I had abandoned my tendency for contemplation out of superstition, as I was too exhausted to walk anymore. Then, seemingly out of nowhere, I began to suffer all over my body, akin to the return of pain when anesthesia wears off too quickly. My footwear was pressing tightly against my feet, and my garters were adhering to my perspiring legs. I don't know why I felt embarrassed when my servant saw me bringing the unreceived flowers back home, especially since there was no reason for my embarrassment; I usually buy flowers for myself, which I bring back home and distribute among the enamel-coated vases. But my intellect was so disoriented and I could make use of my humiliated rationality just as little as one can rely on a disabled leg covered with a bandage. I furrowed my eyebrows so that the tears wouldn't come and I lamented foolishly in a monotonous tone, which brings to mind when you visited our vineyard, continuously playing a whistle in the same style as the mentally ill cowherd returning with the cows. What prompted him to do that? He alone called me and I came over to him to do a nice thing, not declining to experience again an hour from a past still so replete with unclassified happinesses.

When I found D., he was sitting on the couch at home, reading. Nevertheless, I reckon that he picked up the book and held it only when he heard my steps in the lobby. He irritated me, and I suspect that in my gaze had manifested, like a dog at the gate of the courtyard, every ounce of indignation I was capable of. However, I felt pity for him ... He was pale, even uglier than usual, with cloudy eyes and an undefined mouth, dehydrated like a dried fig. I would have liked to remind him once more of the understanding that he shouldn't come in and stay at my place when I'm not home, but it seemed to me that my indignation would shatter his nerves, that it would demoralize him like an unwarranted insult.

*These "remonstrances," made exclusively in the spirit of friendship, had no particular emphasis and were more the effect of a perplexity that the following correspondence had definitely contributed to; although it's even more accurate to say that they were replaced by new complaints, entirely unexpected discoveries, which resulted in the compilation of this "dossier of existences" that we present to the readers.

Furthermore, in order to understand some of the references in these letters, a few clarifications are undoubtedly necessary, even at the price of a detour from the beginning. I was the first to suggest, and even intend, that Mrs. T should appear on the stage. I have continually held the conviction -- and nowadays it is more deeply rooted than ever -- that "profession" and "craftsmanship" are antagonistic to art. In my chronicles of the theater, by way of example, I have frequently asked, thinking that only thus will the theatrical art be regenerated among us, for theater directors to endeavor to recruit the principal performers not from among the apprentices who have graduated from conservatory studies, but particularly by shining a spotlight upon the personalities who have also exhibited their creative capacity in other areas. To introduce to the stage multifaceted experiences from life in the real world, just as several major foreign directors have done. The way one thinks, how one feels love, how one experiences suffering cannot be learned during class hours and cannot be validated by graduation certificates. Modest elements, educated with solicitude and sagacity, can capitalize on their ordinary abilities through education, acquiring that standard capability which enables the majority of students admitted to a school, whether it be military school, high school, liberal arts college, or forestry school, to complete nearly everything, progressing year after year, automatically and patiently. However, theater can only be, intensely, about powerful personalities and dislocations of consciousness (the remainder is only entertainment and the "cultural establishment"). Consequently, the opposition which was presented to me has no applicability: that in art it is obvious that exceptional temperaments do not require a Conservatory; however, this Conservatory is absolutely indispensable for unassuming temperaments. This perspective signifies, I reckon, a contradiction in essence. Because it doesn't have anything to do with these modest temperatures (which are primarily suited to playing secondary roles and for the purpose of delivering peripheral familial scenes like the actors of the day). The art of theater precisely requires personalities of uncommon structure. Unfortunately, it is known that precisely these are initially excluded due to the very nature of the Conservatory. Ultimately, according to what criteria do the professors of these schools select their students? First, "according to physique." There is the aberration of the "theater physique", conceived as the attractive physique. When art necessitates a physical appearance appropriate for the role: big for Danton, Othello, Holofernes; deformed for Richard III, Smerdyakov, and all of the jesters and fools from the entirety of the theatrical tradition; youthful and attractive for Romeo; conservative and anxious for the "contemporary" lover; chubby for the comical; when, ultimately, art requires of the actor's body as much variation as what life has created, the professors' committee prefers to admit a certain type of guy who "has the correct physical appearance", in other words neither tall nor short, neither fat nor skinny, neither attractive nor unattractive, neither white nor black, in the end, something perfectly average, colorless and unexpressive, a type of decent gentleman of 20 years, who evokes nothing and whom you would sooner take for a sales clerk than a servant of the arts.

Introverted Feeling

This passage, translated from the beginning of Petrescu's novel Procrustean Bed, which has elements of philosophical discourse, is rich with imagery and introspection. It touches upon the complexities of human relationships, societal norms, and the pursuit of artistic expression.

The passage delves deeply into the narrator's emotional experience and inner turmoil, focusing on her personal feelings and reactions to events and interactions with others.

The narrator grapples with conflicting emotions, such as regret, resentment, compassion, and empathy, which are typical of individuals who strongly use Introverted Feeling.

Throughout the passage, the narrator reflects on her values, morals, and beliefs, particularly regarding her relationship with D. and her own actions and motivations.

There's a strong sense of self-awareness and introspection evident in the passage, as the narrator examines her own thoughts, feelings, and behaviors in relation to those around her.

Introverted Intuition

The passage showcases a profound level of introspection and reflection on past experiences, relationships, and emotions. This introspection suggests a strong reliance on Introverted Intuition, which is focused on internal perceptions and insights.

The narrator reflects on the significance of various symbols and events in her life, such as the flowers, the blue envelope, and D.'s behavior.

Footnote

In the intricate dance between artistic expression and formal education, a profound paradox emerges, echoing the sentiments of Petrescu's introspection in the footnote. The notion that artistic prowess defies the confines of conventional pedagogy clashes with the institutionalized structure of conservatories, raising questions about the true essence of talent and the role of education in nurturing it.

At the heart of this dilemma lies the tension between "profession" and "craftsmanship" versus the raw, untamed essence of artistry. The author's belief in the transformative power of lived experiences and multifaceted personalities on stage challenges the traditional hierarchy of conservatory-trained performers. Indeed, the protagonist's plea for a theatrical renaissance rooted in genuine human experiences mirrors a longing for authenticity amidst a sea of contrived performances.

Central to this discourse is the author's critique of the selection process in conservatories, which prioritizes physical appearance over innate temperament and creative potential. The archetype of the "decent gentleman of 20 years," devoid of distinctiveness or vibrancy, epitomizes the homogenization of talent in the pursuit of an illusory standard of attractiveness. This indictment underscores the author's conviction that true artistry transcends superficial aesthetics, embracing the full spectrum of human diversity and imperfection.

Furthermore, the author's juxtaposition of "exceptional temperaments" with "unassuming temperaments" highlights the inherent contradiction within conservatory education. While exceptional talents may thrive outside the confines of formal training, the very structures designed to nurture artistic growth often exclude those with unconventional perspectives and idiosyncratic voices. This exclusionary paradigm perpetuates a cycle of mediocrity, depriving the theatrical world of the rich tapestry of human experience it so desperately craves.

In essence, Camil Petrescu's impassioned plea for a paradigm shift in theatrical education reflects a deeper yearning for authenticity, diversity, and inclusivity within the arts. By challenging the hegemony of conservatory training and advocating for the primacy of lived experiences, the protagonist champions a vision of theater that transcends the confines of conventionality and embraces the transformative power of individuality.

The author's reflections on artistic temperament and the conservatory dilemma serve as a poignant reminder of the inherent tension between institutionalized education and the untamed spirit of creativity. In a world where conformity reigns supreme, it is imperative to preserve the sanctity of artistic expression and celebrate the myriad voices that enrich the tapestry of human experience. Only then can theater truly fulfill its potential as a mirror to the soul of humanity.

Danton, Holofernes, and Smerdyakov

Danton, Holofernes, and Smerdyakov serve as archetypal characters drawn from literature and history, each embodying distinct facets of human experience and temperament.

Danton, a towering figure of the French Revolution, symbolizes the archetype of the charismatic leader, known for his fiery rhetoric and unwavering commitment to revolutionary ideals. His larger-than-life persona and complex moral dilemmas make him a compelling subject for dramatic exploration, highlighting the interplay between power, principle, and personal ambition.

Holofernes, a character from the biblical Book of Judith, represents the archetype of the tyrannical oppressor. His arrogance and hubris serve as cautionary tales of the dangers of unchecked authority and the corrupting influence of power. In theatrical adaptations, Holofernes often embodies the archetype of the antagonist, whose downfall serves as a catalyst for the triumph of justice and righteousness.

Smerdyakov, a character from Fyodor Dostoyevsky's novel The Brothers Karamazov, embodies the archetype of the marginalized outsider. Born out of wedlock and subjected to societal scorn, Smerdyakov grapples with feelings of resentment and alienation, ultimately succumbing to the darker impulses of human nature. His tragic fate serves as a poignant commentary on the corrosive effects of societal injustice and the human capacity for moral ambiguity.

By invoking these iconic figures, Camil Petrescu underscores the importance of theatrical performances rooted in the depth and complexity of human experience. Each character represents a facet of the human condition, inviting audiences to confront universal themes of power, morality, and existential angst.