By Anne Bogart
A thought-provoking exam of the demanding situations of creating theatre.
content material: reminiscence --
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Additional resources for A Director Prepares: Seven Essays on Art and Theatre
And so on. ) In rehearsal an actor 46 ••• VIOLENCE searches for shapes that can be repeated. Actors and directors together are constructing a framework that will allow for endlessly new currents of vital life-force, emotional vicissitudes and connection with other actors. I like to think of staging, or blocking, as a vehicle in which the actors can move and grow. Paradoxically, it is the restrictions, the precision, the exactitude, that allows for the possibility of freedom. The form becomes a container in which the actor can find endless variations and interpretive freedom.
Much to my surprise and frustration, I discovered a serious blockage of information from earlier years. I could trace influences back to about 1968 and then everything stopped. I had difficulty channelling previous generations in any concrete way. I could not feel them ‘in the room’ with me. I wasn’t using them in my rehearsals. I was not fed by them ideologically, technically, aesthetically or personally in a way that felt substantive or practical. Certainly I was familiar with the prominent individuals and great companies from the first half of the century.
This political attack forced everyone to radically alter or adjust their lives and values. Some fled the country never to return, some were blacklisted and forced to stop working, and others just changed, recanted, disengaged and shut up. Today we barely remember the McCarthy era and most of us are not aware of the serious consequences of that forgotten catalyst. Through a brutally effective mechanism, artists were directed to disengage from issues facing the real world. Without this social link, many turned inward.
A Director Prepares: Seven Essays on Art and Theatre by Anne Bogart