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[T] he issues raised in these films concern the difficulty of overcoming a certain moral cynicism, a giving up on the aspiration to a life more coherent and admirable than seems affordable after the obligations and compromises of adulthood begin to obscure the promise and dreams of youth and the rift between public demands and private demands comes to seem unbridgeable.1 In the logic of emancipation ... there is always a third thing ... The same applies to performance. It is not the transmission of the artist’s knowledge or inspiration to the spectator. It is the third thing that is owned by no one, whose meaning is owned by no one, but which subsists between them, excluding any uniform transmission, any identity of cause and effect.2

Emancipated perfectionism – or, In praise of dreaming