The Letter actors , Valerius Novarina , Theatre lyrics , 1989
I write by ear. For actors tires.
points in old Arabic manuscripts, were marked by respiratory suns ... Breathe, lungs! C Lungs, it does not mean moving the air, yelling, swell, but to have a real economy breathing, use all the air that it takes all spend before the resume, go to the end of his breath until the constriction of asphyxia final point, the point of the sentence, the fist that has the side after the race. Mat
Mouth, anus. Sphincters. Not'tube closing round muscles. Da The opening and closing speech. Net attack Mel (teeth, lips, mouth, muscular) Da e t end net Mel ( cut air ) Da . Stop Net. Chew and eat the text. The blind audience must hear crunching and swallowing, ask what they eat over there on that shelf. Mel What do they eat? They eat? Di Chew or swallow. Chewing, sucking, swallowing . E Some pieces of text should be bitten, attacked viciously by eating Max (lips, teeth) Da ; other pieces must be quickly Gobes, swallowed, swallowed, sucked, swallowed. Mel Eat, swallows, eats, chews, dry lung, chew, chew, cannibal! Max Ouch, ouch ... Di Many of the text must be initiated by a breath, without taking a breath, making use of everything. Spend it all. Not keep its small reserves, not being afraid to lose momentum. Seems that's how we found the rhythm, the different breaths, by engaging in free fall. Hu Not quite cut while slicing intelligent, intelligible sliced - as is the usual French diction of today where the actor's job is to divide your text into salami, to stress certain words, the load of intentions, to repeat the exercise in short segmentation of speech is learned in school: sentence cut in subject-verb-object, the game of searching for the key word to emphasize a phrase, for many show that a good student is intelligent - as when, while the word form rather something like an air tube, a pipe sphincter, a column breakaway irregular, spasms, Gate, flowing cut to leak pressure. Hey
Where is it the heart of it all? Is it the heart that pump circulates this? ... A The heart of it all, he is in the bottom of the stomach in the abdominal muscles. These are the same muscle belly, pressing gut or lungs, we used to defecate or enlarging the floor. Should not make intelligent, but to the bellies, teeth, the jaws to work. Mat
Will one day an actor delivers his living body to medicine, we open, we finally know what is happening inside, Di when it plays. A Let know how it's done, the other body. Because the author is playing with another body than his. With a body that works the other way. In the game a new body? Or another of the same economy? E is not known yet. Be open. Di When it plays. A
body involved is not a body that exaggerates S (gestures, facial expressions) Da , the actor is not a "comedian" , not stirred. S The game is not stirring in more of the muscles under the skin, a gesture surface, a triple activity of the visible parts of the body and expressive T (amplify the grimaces, rolling his eyes, speak louder and more rhythmic) Da playing is not emit more signals; play it have in the envelope of skin, pancreas, spleen, vagina, liver, kidney and intestines, all circuits, all pipes , the flesh under the skin swing, the whole body anatomical whole body unnamed while hiding the body, whole body bloody invisible, irrigated, claiming that move below, which s'ranime, talking. Mat
But we want to believe him, the actor, his body is fifteen thousand square centimeters of skin gently offering itself as a carrier signal to the show , six hundred and four possible positions in the expressive art of staging, a telegraph in order to gin gestures and intonations necessary for the understanding of discourse, an element, after all, a piece of the whole an instrument of the orchestra concerto. N when the actor is neither an instrument nor an interpreter, but the only place where it goes and that's it. S
The actor is not an interpreter because the body is not an instrument. Because this is not the instrument of the head. Because it is not his medium. A Those who say the actor to interpret the instrument of his body, those who treat him like an obedient clever brain to translate thoughts other signals in the body, those who think we can bring something to the other dun body and a head can order something to a body, are on the side of the ignorance of the body toward the suppression of body, ie the repression itself. Flo
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