...“Remember that pride is the worst of the seven deadly sins,” Portmann went on. “Maybe what people are saying is ‘I think that Broadway is getting way out of control and I’m happy to see failure, so I’m willing to see actors get hurt. Then the producers will see that they are walking down a path that I didn’t endorse.’ ”
John Munder Ross, a psychologist and the author of “The Sadomasochism of Everyday Life,” said that we all have an unconscious desire to experience pain vicariously, and that theatregoing can ritualize these tendencies. “If it’s collective, it attenuates the individual guilt.”
Kathleen Coleman, a Harvard classics professor and a consultant on the movie “Gladiator,” found precedent in Roman chariot racing. “There could be terrible accidents at the turns, and if you sat at the end of the
track you’d have a better view,” she said. She was reminded of an incident described by Suetonius, in which an actor performing for the emperor Nero attempted a stunt that went haywire. “It was probably some sort of acrobatic leap,” she said. “He crashed too close to where the Emperor was sitting and spattered the Emperor with blood.” The show? A retelling of the myth of Icarus, who, like the cast of “Spider-Man,” was having major flying issues.
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Thrills and spills for the new Spider-Man musical : The New Yorker