The Revolution Continues: A New Actor in an Old Place
ProQuest, 2007 - 212 pages
I believe that acting theories are theatrical performances of societies, and a dominant acting theory is a performance of specific systems of power that control and regulate a culture. By observing the rules of a dominant acting theory, and by observing the actor's condition, as in how the actor's body and mind are constrained, encouraged to be creative, or forced to repeat a set of actions, it is possible to "read" the power systems that either constrain or liberate a people. Concerning the production of a play, if a director and an actor make a conscious choice to use a dominant acting theory, then the use of the theory, whether it is a historic representation of the time and place defined by the play or not, represents a conscious choice of collaboration or resistance with the specific cultural conversation of the playwright. If a collaboration takes place, then the director, actor, and audience watching represent a culture defined by resistance to systems of power. If a director and an actor use a dominant acting theory unconsciously, then the play is not defined by conscious choices of collaboration or resistance, but rather by an unconscious presentation of a specific set of rules and regulations. If the director, actor, and audience watching take part in an unconscious presentation of rules and regulations, then the actor, director, and audience watching participate in the erasure of an alternative cultural conversations, and the erasure exposes a culture that is defined by compliance to specific systems of power.