By Michael Kirby
Michael Kirby offers a penetrating glance a theater concept and research. His technique is analytically finished and versatile, and nonevaluative. Case experiences exhibit this special approach and checklist performances that another way will be lost.
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Extra info for A Formalist Theatre
Illusionary stagecraft and realistic acting do not intend or expect to be taken for real life any more than an illusionistic painting is intended to be mistaken for what it represents. In almost all performances, we see the Ureal" person and also that which the actor is representing or pretending. The actor is visible within the character. To say that no performance can deceive a spectator would not be true, however. True and complete illusion is possible in theatre; acting may actually Nlie," be believed, and be seen as not being acting at all.
The various degrees of representation and personification are JJcolors," so to speak, in the spectrum of human performance; artists may use whichever colors they prefer. :" r II the structure of performance Traditional approaches to structural analysis are primarily inductive. They create rules or principles by generalizing from particular examplesclassic Greek tragedies, Shakespeare, the great" plays. Other forms of theatre are ignored. The emphasis on narrative (and on the script rather than the theatrical production) makes theatrical structure similar to literary structure.
A person from the second line Iitakes" the movement and sound, changing them before passing them on to someone in the first line, and so forth. Like the mirror exercise that was discussed earlier, this use of an acting exercise as an actual performance is one way to simplify acting by concentrating on one or a limited number of elements. Exercises, often more integrated into the action than was this example, were frequently used in the new theatre for their performance qualities and expressiveness rather than for their training values.
A Formalist Theatre by Michael Kirby