A unique and comprehensive approach. Summarizing and integrating the changing continuity of acting and theatre techniques through the 20th century – Stanislavsky to Grotowski and The Living Theatre. Each step reflecting the meaning and aesthetic of the theatre, and especially acting, as it pertains to its epic moment and the usefulness of the theatre.  For example, we take "naturalism" for granted.  As though Stanislavsky's system was the final expression of what the theatre is or can be. Since naturalism, all experiments in acting and the theatre have been relegated to a separate aesthetic which rarely influences the theatre proper, leaving the theatre frozen in time.  The question becomes, how can we advance the theatre proper to fully reflect the meaning of the theatre in our own time. The answer lies with the development of the actor, rather than the playwright or director.  Once the actor is freed from the limits of naturalism, the theatre proper can move forward to better represent its place in contemporary culture. A culture of spectacle and semiotic transcendence in which the theatre is primary, and the world is secondary and contingent. 

 

Meyerhold's Biomechanics - the inner life of the character through physical means

Piscator and Brecht - Epic Theatre and Objective Acting

Antonin Artaud - Transcending Language

Jazz Acting - actor as solo performer

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