Is the Individual-Group Axis: Health's Proscenium Arch?

Speech: “All the world’s a stage”

By William Shakespeare
(from As You Like It, spoken by Jaques)

          

     All the world’s a stage, 
And all the men and women merely players; 
They have their exits and their entrances; 
And one man in his time plays many parts, 
His acts being seven ages. At first the infant,
Mewling and puking in the nurse’s arms; 
And then the whining school-boy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
Sighing like furnace, with a woeful ballad 
Made to his mistress’ eyebrow. Then a soldier,
Full of strange oaths, and bearded like the pard,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth. And then the justice,
In fair round belly with good capon lin’d,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
Into the lean and slipper’d pantaloon,
With spectacles on nose and pouch on side;
His youthful hose, well sav’d, a world too wide
For his shrunk shank; and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion;
Sans teeth, sans eyes, sans taste, sans everything.

Source: https://www.poetryfoundation.org/poems/56966/speech-all-the-worlds-a-stage

TIME FRAMES

'As Shakespeare and his contemporaries wrote for the epic scale, the imaginative commitment and the 360-degree embrace of the Globe so, three hundred years later, generations of playwrights wrote for the velvety darkness, the enclosed acoustic and the picture framing of the proscenium arch.

For a century, the story of the changing world was told inside proscenium theatres, by a series of remarkable playwrights. In over sixty irreverent, illuminating pen portraits – of both famous giants and lesser-known talents – Dominic Dromgoole takes us on a journey from 1865 to 1965, revealing how these writers used the framed stage to reflect the social upheavals of their times.' 

This post began with: 'All the world's a stage', but I realised I'm no Shakespeare. Hodges' model is a frame; and users of the model can put it to work, readily. Be that in the sciences, arts, and across curricula. The 'arch' in Hodges' model appears to be inverted, working from within, rather than out. Similarly to the proscenium arch, however, the model provides a structure, for whatever performance, situated, will surely follow.

Hodges' model: Axes and Domains

Of course, the question posed here might be re-framed as: 

Are the axes of Hodges' model, life and death's proscenium arch?


Dominic Dromgoole (2026) Time Frames: A century of proscenium playwrights. London: Faber. 
https://www.faber.co.uk/product/9780571374113-time-frames/ [Text source].

Previously: 'drama' : 'stage' : 'frame'