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Sex on the stage

Freud’s Psychosexual Stages of Development David B. Freud advanced a theory of personality development that centered on the effects of the sexual pleasure drive on the individual psyche. At particular points in the developmental process, he claimed, a single body sex on the stage is particularly sensitive to sexual, erotic stimulation.

These erogenous zones are the mouth, the anus, and the genital region. A child at a given stage of development has certain needs and demands, such as the need of the infant to nurse. Overindulgence stems from such an ample meeting of these needs that the child is reluctant to progress beyond the stage. The child, of course, preoccupies himself with nursing, with the pleasure of sucking and accepting things into the mouth. The oral character who is frustrated at this stage, whose mother refused to nurse him on demand or who truncated nursing sessions early, is characterized by pessimism, envy, suspicion and sarcasm. With the advent of toilet training comes the child’s obsession with the erogenous zone of the anus and with the retention or expulsion of the feces. In this stage, the child’s erogenous zone is the genital region.

As the child becomes more interested in his genitals, and in the genitals of others, conflict arises. In the young male, the Oedipus conflict stems from his natural love for his mother, a love which becomes sexual as his libidal energy transfers from the anal region to his genitals. Unfortunately for the boy, his father stands in the way of this love. The boy therefore feels aggression and envy towards this rival, his father, and also feels fear that the father will strike back at him.

On the Electra complex, Freud was more vague. The complex has its roots in the little girl’s discovery that she, along with her mother and all other women, lack the penis which her father and other men posses. Her love for her father then becomes both erotic and envious, as she yearns for a penis of her own. She comes to blame her mother for her perceived castration, and is struck by penis envy, the apparent counterpart to the boy’s castration anxiety. Fixation at the phallic stage develops a phallic character, who is reckless, resolute, self-assured, and narcissistic–excessively vain and proud. Freud also postulated that fixation could be a root cause of homosexuality.

Freud saw latency as a period of unparalleled repression of sexual desires and erogenous impulses. During the latency period, children pour this repressed libidal energy into asexual pursuits such as school, athletics, and same-sex friendships. The less energy the child has left invested in unresolved psychosexual developments, the greater his capacity will be to develop normal relationships with the opposite sex. If, however, he remains fixated, particularly on the phallic stage, his development will be troubled as he struggles with further repression and defenses. Richard Armitage : Biography Richard Armitage was born in Leicester on 22nd August 1971, the second son of Margaret, a secretary, and John, an engineer. Childhood favourites included The Hobbit and The Lord of the Rings.

I remember having that moment of finally understanding what was going on. Pattison’s introduced him to the demands and obligations of an acting career: “It instilled me with a discipline that has stood me in good stead – never to be late, to know your lines and to be professional. After leaving school, Richard joined The Second Generation, a physical theatre group, working for eight weeks in a show called Allow London at the Nachtcircus in Budapest. Equity card, a pre-requisite at the time for entry to the profession.

Returning to the UK, he embarked on a career in musical theatre, working as assistant choreographer to Kenn Oldfield and appearing in the West End and on tour in a series of musicals including 42nd Street, My One and Only, Nine, Mr Wonderful, Annie Get your Gun and Cats. In his final year at LAMDA, an advert on the college notice board for film extras led to his first experience of acting in a feature film: a one-line role in Star Wars: The Phantom Menace. Despite being unidentifiable on screen, he found himself besieged by Star Wars fans when touring Japan with the RSC two years later. Graduating in the summer of 1998, he immediately joined the cast of Hamlet at the Birmingham Repertory Theatre, having already appeared at the Edinburgh Festival as Cliff in William Mastrosimone’s two-hander The Woolgatherer, and as Henry in Tom Stoppard’s romantic comedy The Real Thing. An eighteen month engagement with the Royal Shakespeare Company followed. He appeared first in the role of Angus in Gregory Doran’s highly acclaimed production of Macbeth. Between November 1999 and June 2000 it played at the Swan in Stratford, the Young Vic in London and toured Britain, Japan and the USA, before being filmed.