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Directing Theory: pre-text, text and super-text = playscript + spectacle + public
Time, Space and Other Pages in Theatre Theory *

TOPICS: + space + virtual + drama + comedy + postmodern + american age + self + POV + death + resurrection + beyond theory + sex + communism + webbing +
2006: Thought -- Theatre was a replacement of church, especially, in Russia of 19th century. More so, in the 20th century (reaction to Communists, read Berdyev). "Theatre as Church" or "Theatre as Religion" -- not the same.

Sprituality in Chekhov examined under the Orthodoxy's POV: "Waiting for Godot" themes (and methods). Existentialism and Adsurd and Christian Tradition.

Stanislavsky' System, Method Acting, Reincarnation and Resurrection...
Long story.


Theatre w/Anatoly: intro pages
Classes: Aesthetics

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(Virtual Reality and Future Theatre)

Phenomenology of Spectatorship

The End of History and the Postmodern Era have many practical and serious concequences for theatre. Beckett wrote: "The End of Theatre"! I would say it's the true beginning, when everything becomes theatre ("Society of Spectacle"). Foucault introduced the concept of Panopticum, when everything is transparent."The world is a stage"? Consider the old Christian concept that God sees everything -- now replace God with the human race. This is where we are going. "Private in Public" -- this is how Stanislavsky defined the essence of Method Acting...

In the primite's universe everything is holy (we are toming to this type of existance), everything is an act of communication, action and reaction to the entire world. This is why the social position of actors are on the top today (instead of the bottom, as it was not so long ago). It's not "real" acting, we all know that celebraties are not actors, there are no actors in social rituals. So, what is this "ritual acting"?

"15 minutes of fame"? How about the old principle that every life must be celebrated? How about expression the old notion that every man is a universe? Should I add that every moment of every life is divine? But who and how could watch every minute of every life? All and nobody -- ritual has no public, all are participents...

What kind of theatre is that? I call it Virtual Theatre (VT). But how to act, how to direct in this vTheatre?

I do not think that I will get to it, here are my notes for myself...

Theory There are many under-developed pages under the name "Theory" in different directories, as if I hope that they could bring the answers to other topics and issues...

Theatre of the Mind... Theatre of Thought... Theatre without Theatre...


I do not like this page. I do not like new "theories"... I have to do some writing on my non-fiction pages first, I must make this topic personal...
The less public our sense of God becomes, the more personal it gets. Less defined, less understood. Almost as if in pre-cultural times, gods of animals. More and more important...
In poetry the audience isn't essential. There's another sender/receiver: god.
(Poetics in drama)
Theatre of One always has Another, super-me, super-human, silent, unknown. Revelations, messages from god and to god. Vertical drama. In pm world it has to be my individual line.

Prime public and the source of stories -- gods. Audience communicates with another world through stage (art, culture -- for people), stage -- through audience. I need them (public) to be heard, to get god's attention, to increase the size of the event (my payers).

The only place where religion (many) is still alive -- theatre (any performance, including tv?).

In order for them to be performers, they have to experience drama. God reads their hearts, they're the senders. Art doesn't deal with what we know, only with what we don't know.

The past and the future are not control by me; they are super-natural entities. The chance, the accident -- too many elements of my life are out off my control. Never I'll be in total control.
Communication with our own models, "imaginary" addresses. Magic is in transforming the public into performers. Since god's response isn't requested (we are answering), there's no need in two-way communication. The story as a message to us, and from us (when the first and when is the second?)


Resurrection is never original; life as art (second living), angelical world.

Play Idea:
Life processed and organized by my conscience. New origins of resurrected life.
Resurrection uses the original life as a material, includes it in its product.
Specifics of theatre mode of resurrection that it has no copies -- it's live!

PM in theatre (performance ideas), immediate quotations from the original. Presence of resurrection (potential) in raw life -- it exists, it has time in it.
Virtual reality technology works to bring theatre arts into light again. Technological revolution of modernity in theatre gave a birth to a director. Future electronic technology would redesign the theatre space: Spectator Directs!

SPECTATOR'S DRAMA (dramatic theory)
1. The Conflict
"I as a situation." I bring my conflict with me anywhere I go. My conflict is composed of two positions/situations: I-Past and I-Future. Present is always drama. Time makes everything dramatic, because time is life = process, changes. My inner conflict (my situation) is me, my character. When I meet Other (that is an event in old Newtonian theatre theory), my conflict (character) becomes visible. The Other is another situation which becomes mine too. Since a character is a "moving conflict," placed into a new situation, I react -- this is a plot event. (my thought or feeling is an event in my inner situation).

Awareness of time makes a character into a hero. We are made of what we have and what we want (which is a part of what we are). Hopes and desires make my situation dynamic. Time brings changes even if I don't ask for them. To resist this power of time is my ontological instinct (Foucault). Even a stone resists; in physics they call it "inertia.' My past is a remembered time; it's full of conflicts too. My future is a field of potential resolutions. My conflicts lead "I" into more conflicts in order to solve my conflicts. The only cure for a conflict is another conflict.
Actualization of conflict -- conflict in space, the act.
Conflict is a dialogue between two realities: the actuality and the desire. Actuality disciplines my expectations. I am a battlefield of two powers: myself and the world.

I'm the birthplace of the Gaze and the Panopticon. I watch life and I'm an "involved observer." Two natures in "I" force "Me" into a conflict: life and conscience. I'm not simply live, I know that I live. I'm not only see life, I seek to control it. Since my conscience is nothing but knowledge, it's a power. Power breads expressions.


Subject and Object of Action

From a spectator to an actor:
Theatre is the extremist expression of panopticism. The space designed for action to be seen, and for me not to be noticed. What makes the prison idea so entertaining in theatre?
The three parts of the theatre space: the house, the stage and the backstage.[1]
The backstage transforms the viewer into being manipulated. I don't see everything (as in life). What I don't see makes theatrical narrative so dynamic. (As in movies, most of the time I don't see the action.)

To compress the time I have to edit the space. More time condensation -- more drama (action movies). I cut space out and the omitted spaces (what I don't see) make the control over me possible., The story is always a balance between what I know and what I don't. (Very much a symbol of life). We organize the theatre space in the three unequal in principle zones to simulate life itself.
The audience = no-space space. Stage = the empty space; visible, watchable "space of space." BS = unknown, the "other" space.

Aristotle about imitation: theatre is a negation of world. De-constructed, transformed, processed, reconstructed, etc. "Natural" links are removed, matter is surpassed. Theatre isn't real in the same sense as my perception of the world (my mind) is a phantom (reflections, another life of reality). Everything is translated in signs, messages, knowledge. Character's body is a resurrected actor's body (and should be treated this way --training). The theatre machine make it possible. Resurrection is a collaborative effort, acting is a top of the pyramid of resurrection process. In paradise (or hell = Judgement Day as a meeting of paradise and hell) everything is meaningful. The crude life has to be cleaned throughout, everything accidental, non-essential, unimportant is out!

Next: theory
"И Слово (Logos) стало плотию (sarx)" (Ин. 1:14). Перефразируя книгу Бытия (3:22), можно было бы сказать: "Вот, Бог стал как один из нас". То, что Христос действительно вступил в форму бытия тленного, обреченного смерти, земного человеческого тела, дают отчетливо почувствовать все Евангелия. Как человек из плоти и крови, Христос устает (Ин. 4:6), спит (Мф. 8:24), испытывает голод (Мф. 4:2; 21:18) и жажду (Ин. 4:7; 19:28), он плачет (Лк. 19:41; Ин. 11:35), он "скорбит смертельно" (Мф. 26:38); в "агонии" тела, которому в, Гефсиманском саду грозит преждевременная смерть, он исходит кровавым потом (Лк. 22:44).
Waiting for Godot
Part II -- Many, our New Church (popculture and "pop-art"). Religious experience & miracles.

[ St John's words are just as applicable to theatre as to the story of Christianity: "In the beginning was the Word..." ]

Next: resurrect
@2002-2004 [ ru ] -- 2007

Рудольф Фрилинг. Христианство и перевоплощение [ on reincarnation ]

Христианский богослов и священник Р. Фрилинг, исследуя Священное Писание и историко-философские материалы, полемизирует с распространенным учением, отрицающим существование души с момента смерти человека до Страшного суда (AA), делает определенные выводы о влиянии идеи реинкарнации на повседневную жизнь и нравственное сознание людей.

"... "Христос не учитель, как обыкновенно говорят, Христос не основоположник, Христос -- само содержание христианства". Эти слова Шеллинга из 25-й лекции его "Философии Откровения" вправе служить классическим выражением того, что можно назвать самоосмыслением христианства."

Christ = Man (Superman) : aim = Man as Christ

Actor as Shaman (Method Acting)

[ ... ]

Становление Христова начала в человеке: "...Будьте совершенны, как совершен Отец ваш Небесный" (Мф. 5:48).

Paul: "Ибо в вас должны быть те же чувствования, какие и во Христе Иисусе" (Фил. 2:5).

"Как Он может дать нам есть Плоть Свою?" (Ин. 6:52) Method Acting Identification (ID)

[ p.48 = То, что душа еще перед смертью способна более или менее освободиться от земного тела, человечество издревле знает по опыту. На подобную ситуацию указывает, например, слово "экстаз" ("ис-хождение" и "вне себя нахождение"). Extacy -- Individual "death" of actor before the character is born. "Being outside of your body" -- "Я был в духе" (Откр. 1:10; 4:2). Remember, Plato -- идея Предсуществования, the idea of "pre-existence" (character) ]

* Role? ... апостол Павел употребляет слово "athanasia" и для грядущего тела воскресения, которое должно обрести ее через великое преображение (1 Кор. 15:53, 54). [ Total Identification = Life After Death ]

... and Stanislavsky [ where? ]

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