The Actor and the Über-marionette
EG Craig - The Twentieth Century Performance Reader, 2013 - api.taylorfrancis.com
EG Craig
The Twentieth Century Performance Reader, 2013•api.taylorfrancis.comIt is well known that contact between audience and stage is normally made on the basis of
empathy. Conventional actors devote their efforts so exclusively to bringing about this
psychological operation that they may be said to see it as the principal aim of their art (5).
Our introductory remarks will already have made it clear that the technique which produces
an A-effect is the exact opposite of that which aims at empathy. The actor applying it is
bound not to try to bring about the empathy operation.
empathy. Conventional actors devote their efforts so exclusively to bringing about this
psychological operation that they may be said to see it as the principal aim of their art (5).
Our introductory remarks will already have made it clear that the technique which produces
an A-effect is the exact opposite of that which aims at empathy. The actor applying it is
bound not to try to bring about the empathy operation.
It is well known that contact between audience and stage is normally made on the basis of empathy. Conventional actors devote their efforts so exclusively to bringing about this psychological operation that they may be said to see it as the principal aim of their art (5). Our introductory remarks will already have made it clear that the technique which produces an A-effect is the exact opposite of that which aims at empathy. The actor applying it is bound not to try to bring about the empathy operation.
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