"Ours is not a deductive method of collective a "bag of tricks". Here everything is concentrated on the "ripening" of the actor which is expressed by a tension towards the extreme, by a complete stripping down, by the laying bare of one's intimity- all this without the least trace of egotism or self-enjoyment. The actor makes a total gift of himself. This is a technique of the "trance" and of the integration of all the actor's psychic and bodily powers which emerge from the most intimate layers of his being and his instinct, springing forth in a sort of "trans-lumination."
"It is capable of challenging itself and its audience by violating accepted stereotypes of vision, feeling, and judgement- more jarring because it is imagined in the human organism's breath, body, and inner impulses. This defiance of taboo, this transgression, provides the shock which rips off the mask, enabling us to give ourselves nakedly to something which is impossible to define but which contains Eros and Caritas."
"The spectator had thus a renewed awareness of his personal truth in the truth of the myth, and through fright and a sense of the sacred he came to catharsis. It was not by chance that the Middle Ages produced the idea of "sacral parody."
The words "actress" and "courtesan" were once synonymous. Today they are separated by a somewhat clearer line, not through any change in the actor's world but because society has changed. Today it is the difference between the respectable woman and the courtesan which has become blurred."
"If the actor, by setting himself a challenge publicly challenges others, and through excess, profanation and outrageous sacrilege reveals himself by casting off his everyday mask, he makes it possible for the spectator to undertake a similar process of self-penetration."
"He must be able to express, through sound and movement, those impulses which waver on the borderline between dream and reality. In short, he must be able to construct his own psycho-analytic language of sounds and gestures in the same way that a great poet creates his own language of words."
"One most resort to a metaphorical language to say that the decisive factor in this process is humility, a spiritual predisposition: not to do something, but to refrain from doing something, otherwise the excess becomes impudence instead of sacrifice. This means that the actor must ct in a state of trance."
"At any rate, the decisive principle remains the following: the more we become absorbed in what is hidden inside us, in the excess, in the exposure, in the self-penetration, the more rigid must be the external discipline;"
"We are concerned with the spectator who has genuine spiritual needs and who really wishes, through confrontation with the performance, to analyse himself. We are concerned with the spectator who does not stop at an elementary stage of psychic integration content with his own petty, geometrical, spiritual stability, knowing exactly what is good and what is evil, and never in doubt. For it was not to him that El Greco, Norwid, Thomas Mann and Dostoevsky spoke, but to him who undergoes an endless process of self-development, whose unrest is not general but directed towards a search for the truth about himself and his mission in life."
"But if this process is followed through to its extreme limit, we can in full consciousness put back our everyday mask, knowing now what purpose it serves and what it conceals beneath it."
--------------------------------------------------------------------------------
Unfortunately I don't have the patience- as good as it is- to read the whole book. But- from what I've read- this can be applied in "REAL" life as well. One must always strive towards self-understanding and therefore be able to communicate one's own humanity to another.
Pub by: Simon and Schuster
"It is capable of challenging itself and its audience by violating accepted stereotypes of vision, feeling, and judgement- more jarring because it is imagined in the human organism's breath, body, and inner impulses. This defiance of taboo, this transgression, provides the shock which rips off the mask, enabling us to give ourselves nakedly to something which is impossible to define but which contains Eros and Caritas."
"The spectator had thus a renewed awareness of his personal truth in the truth of the myth, and through fright and a sense of the sacred he came to catharsis. It was not by chance that the Middle Ages produced the idea of "sacral parody."
The words "actress" and "courtesan" were once synonymous. Today they are separated by a somewhat clearer line, not through any change in the actor's world but because society has changed. Today it is the difference between the respectable woman and the courtesan which has become blurred."
"If the actor, by setting himself a challenge publicly challenges others, and through excess, profanation and outrageous sacrilege reveals himself by casting off his everyday mask, he makes it possible for the spectator to undertake a similar process of self-penetration."
"He must be able to express, through sound and movement, those impulses which waver on the borderline between dream and reality. In short, he must be able to construct his own psycho-analytic language of sounds and gestures in the same way that a great poet creates his own language of words."
"One most resort to a metaphorical language to say that the decisive factor in this process is humility, a spiritual predisposition: not to do something, but to refrain from doing something, otherwise the excess becomes impudence instead of sacrifice. This means that the actor must ct in a state of trance."
"At any rate, the decisive principle remains the following: the more we become absorbed in what is hidden inside us, in the excess, in the exposure, in the self-penetration, the more rigid must be the external discipline;"
"We are concerned with the spectator who has genuine spiritual needs and who really wishes, through confrontation with the performance, to analyse himself. We are concerned with the spectator who does not stop at an elementary stage of psychic integration content with his own petty, geometrical, spiritual stability, knowing exactly what is good and what is evil, and never in doubt. For it was not to him that El Greco, Norwid, Thomas Mann and Dostoevsky spoke, but to him who undergoes an endless process of self-development, whose unrest is not general but directed towards a search for the truth about himself and his mission in life."
"But if this process is followed through to its extreme limit, we can in full consciousness put back our everyday mask, knowing now what purpose it serves and what it conceals beneath it."
--------------------------------------------------------------------------------
Unfortunately I don't have the patience- as good as it is- to read the whole book. But- from what I've read- this can be applied in "REAL" life as well. One must always strive towards self-understanding and therefore be able to communicate one's own humanity to another.
Pub by: Simon and Schuster
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