"I think behind closed doors people behave differently no matter what period we're looking at, because people have to stand up straight in public but can slouch behind closed doors - can you imagine wearing those corsets?"
About this Quote
Blethyn’s line sneaks a whole sociology lecture into a wry costume gripe. She’s talking about corsets, sure, but the joke is really about posture as performance: the body as the first place society enforces its rules. “Stand up straight in public” isn’t just a physical instruction; it’s the social contract. You hold your stomach in, you keep your voice measured, you present a legible, respectable self. Behind closed doors, you “slouch” - not only with your spine, but with your manners, your language, your desires, your fatigue.
What makes the quote work is its refusal to romanticize the past. Period dramas sell elegance; Blethyn punctures that fantasy with an actor’s practical empathy. Corsets become shorthand for every era’s version of constraint: dress codes, gender roles, curated social media lives, the exhausting labor of being “on.” Her rhetorical question (“can you imagine…?”) invites the listener to feel the discomfort, turning history into something tactile rather than museum-glossy.
The subtext is democratic and slightly mischievous: no generation is morally superior; everyone just has different props. Public virtue is often a kind of tailored outfit, and privacy is where the seams come undone. Coming from an actress, it also reads as an industry aside - performance isn’t confined to the stage. We’re all costumed, and relief isn’t just taking off clothing; it’s taking off expectations.
What makes the quote work is its refusal to romanticize the past. Period dramas sell elegance; Blethyn punctures that fantasy with an actor’s practical empathy. Corsets become shorthand for every era’s version of constraint: dress codes, gender roles, curated social media lives, the exhausting labor of being “on.” Her rhetorical question (“can you imagine…?”) invites the listener to feel the discomfort, turning history into something tactile rather than museum-glossy.
The subtext is democratic and slightly mischievous: no generation is morally superior; everyone just has different props. Public virtue is often a kind of tailored outfit, and privacy is where the seams come undone. Coming from an actress, it also reads as an industry aside - performance isn’t confined to the stage. We’re all costumed, and relief isn’t just taking off clothing; it’s taking off expectations.
Quote Details
| Topic | Truth |
|---|
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