I have been acting, off-Broadway, for 48 weeks a year since 1976. I have had a longer run than any of the performers in “The Fantastiks,” “Cats,” or “Phantom of the Opera.” Every day, I must consider and choose my costume, make-up and countenance.
For the most part, our theatres in New York City and across the country, at least our commercial theatres, aspire to work in the style of realism. Our schools of acting continue to teach variations of the Stanislavsky System based in the style of realism.
DEEP AT THE CENTER of our being there is an infinite well of love, an infinite well of joy, an infinite well of peace, and an infinite well of wisdom. This is true for each and every one of us. Yet how often do we get in touch with these treasures within us? Do we do it once a day? Once in a while? Or are we totally unaware that we have these inner treasures?
There are many secrets to life. Being artistic and creative allows us to tap into the unseen powers of the universe. As artists of any kind we tap into a way of being that allows us to reach outside of the confines of the three-dimensional world. Artists somehow know how to shift their perceptions, their way of feeling inside of their body, and adapt a wavelike sensation inside of them to tap into that other inspirational world.
by HAROLD CLURMAN
Recently I was introduced to a gentleman as a person about to stage a new play. “What do you think of it? I was asked. “It’s a good play,” I answered. “Ah, I notice you are careful not to say it’s great,” he remarked.
Sometimes the wheels of fate appear at just the right time, and it was our mutual composer friend, Richard Pearson Thomas, whose music we’ve both performed, who introduced us because he saw some musical connections between our two organizations.
Every time I walk out onto the stage I surrender more and more of myself – trusting and swimming in the freedom of the moment with a deeper consciousness. I tap into the energies of my soul, knowing I’ve come to breathe with those in the audience. Quieting my mind I share with greater clarity and sincerity in the eternal moment.
At some point in my life, I dedicated myself to blatantly and publicly cultivating the spirituality within Michael Chekhov’s technique, while simultaneously sharing how to practically apply it to the business, directing, and life coaching.
Women, I salute your strength to forge forward and speak your fragile truth. Your hidden voice echoes in all of us.
Acting Is a Mysterious Craft ... but It Is a Craft!
Without hope we cannot live. Hope can be a strength or a burden. It can fuel mediocre illusions or harmful and fierce beliefs. It can inspire those “truths” that leaders of doctrines proclaim eternal and philosophers call “idols” or “vital lies.”
As an artist of the Russian avant-garde, Yevgeny Vakhtangov was as much concerned with the new forms of life as he was with the new forms of art. Non-separation between artistic forms and the forms of life was Vakhtangov’s trait since his first steps in theatre. Vakhtangov always saw Theatre as a prerequisite to the new, more beautiful, and sophisticated forms of life.
Basing her own acting practice on the studying of the “Method,“ Dubravka Crnojević Carić uses this acting technique as the starting point into the inquiry of the nature of the actor and acting.
In the Winter of 1982-83, Professor Andy Harris, of Columbia University, called David McDonald in our department with an astounding offer: Jerzy Grotowski was in the U.S. and hoping to come to California,...
Drama is an important visual art which deals with the real life and interacts directly with an audience.
Through intuition, I recognize the spirit in people and what they need, but I often can’t keep track of simple facts. I make commitments and forget them five minutes later; my solemn word lasts only until my next breath. I say yes to everyone and everything, which in practice turns out to be the same as saying no. Yet I know I can do better...
An essay we find so important we have been making it available since we first published it in 2001. A must read.
In 1963 President John F. Kennedy reminded us with these words:
“I see little of more importance to the future of our country and our civilization than full recognition of the place of our artists. If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him…Art is not a form of propaganda, it is a form of truth…Art establishes the basic human truths which must serve as the touchstones of our judgment.”
I LIKE BEING A PLAYWRIGHT, which is fortunate, since that’s one of the few things that I can do with any competence. And it is nice to be able to pass your life doing that which you feel that you might be doing with some competence, and possibly, possibly even communicating with a few people. Because the function of the arts, is it not, absolute communication – to put us in greater contact with ourselves and with each other, to question our values, to question the status quo, to make us rethink that which we believe we believe.
On two evenings, November 8 and 9 of 1977, Jerzy Grotowski held a conference in Portland, Oregon on the Lewis and Clark campus. During those two evenings, a Tuesday and Wednesday respectively, he answered questions from the audience. The first session began at eight in the evening and ended at two in the morning. The second session began at eight but at midnight Grotowski began individual interviews with people who were interested in going to Poland that year for a longer paratheatrical event there. This record is of the conference prior to the interviews.
Hirshfeld Drawing of Julie Harris and Laurence Luckinbill reproduced by special arrangement with Hirschfeld's exclusive representative, The Margo Feiden Galleries, NY.