Enjoy the experience of a hom cinema


The Theater Enthusiast's "Method" Participation

The Stanislavsky school of Method Acting-- to a place the most distant in our memory
applies to the audience as well as thecorners. An extremely remote mental image
players. When sitting in a theater absorbingfrom many years ago can be catapulted to the
the dialogue, character interaction andfront row of our thoughts without warning --
visual display of staging and sets, eacha flash of mental lightning in a clear,
audience member processes elements of thecloud-free mind sky. When dialogue involves
experience objectively first, and thensmells, scents and aromas, old memories dart
subjectively. Just as Method actors learn toto front stage center in our
delve within their past experiences in lifethoughts.Occasionally our imaginations will
-- to gain understanding of each moment'stake charge, replacing the actors we view on
combined layers of sensory stimulation withstage with images of people we know or
their emotional, psychological, physical andcharacters housed within our memory banks. It
even extra-sensory impact -- so do theatermay be that a particular stage action or
goers.While sitting in a theater audiencephrase of dialogue will trigger the
becoming engrossed in the world of dramaspontaneous appearance of this image before
unfolding before us, our degree ofus -- a passive, foggy photo brought to
involvement is a progression through our ownstartling real-time life by association. When
sensory layers. At first, we feel somewhatthis happens, we are often surprised, elated
separated from the stage, as spectators to-- or perhaps dismayed -- depending on how we
its form and activity. Then, gradually, weview this memory person off-stage. Regardless
move closer, beginning to "zoom in" and focusof our first reaction, this upstart character
on each theatrical element. We examine theminvader or impostor will usually enrich and
closely -- the multi-hued montage of stageenhance our perceptions and comprehension of
sets, costumes, dialogue, movement andthe real actor's character portrayal. Even a
lighting design. And before we know it,memory miscast can shed light on current-time
something of this stage world clicks in syncdramatic truths.And sometimes at the close of
with a part of our own life experience, anda theatrical performance -- long after the
we make an instantaneous dynamic connection,applause, curtain calls, bravos and cheers
becoming a notable element of the moment'ssubside, we still sit transfixed, mesmerized
universal theater.When the production isbeyond our individual and collective
truly captivating and enthralling -- when wecomprehensions and beliefs. Not in our
nearly invade the bodies of the actors,wildest machinations could we see ourselves
feeling no space between audience and stage,so completely controlled by the hypnotic
as though we have actually merged with itsdynamics of a play. And then we come to the
vibrant drama, quantum physics is at itsrealization that we are each playing a part
optimum. At this point we are, in fact, asin the creative control process.After all,
one with play and player. Our presence andearly tribal dance and song sprang from the
level of input reach the stage as itsongoing spiritual, dream, and real-life
elements reach out to us. Just as the actors,experiences of the performers and their
script, and all components of the productiontribal communities. And it was Shakespeare
have had a profound effect on us, so have we,who proclaimed all the world a stage.
as audience members, affected theStanislavsky compelled actor and audience to
production.If the performance includes music,delve deeper within ourselves for answers to
our affinities with its various elements areour basic questions of human understanding
often realized immediately. For, music hasrevealed. And modern day dramatic
been declared many times to be the mostexperimentation and improvisation, along with
universal means of communication. A few notesaudience participation, poeticize and
of a familiar melody, or a tune somewhatchoreograph the human need to share in the
similar, can bring instantaneous flash-backsphysics and drama of life's evolving
to events and locations in experiences nowenactment.Ellen Gilmer is a writer-composer
past. People and places otherwise distant inand artist who lives in New York City.
our memories spring forward to inhabit ourCrystal Clear Artforms, her creative arts
present thoughts. At times these vividbusiness, is dedicated to the development and
memories take over, dominating our mindsetpromotion of Thematic Arts (creative
even as we leave the theater. More often,expression in multiple art forms). Ellen's
however, they enrich the overall theatricalwork includes promotional writing and
event, bringing us closer to the performancearticles, and she is a member of the Agora
and to a keener understanding andInternational Press Corps / AWAI Travel
appreciation of it. Many people agree thatWriters Group. She has published two books:
the truest essence of any memory can beLa Belle Famille (a novel); and Free Style
brought most completely to the present byRun of the Heart (a book of dramatic
music.Olfaction also causes quick recall. Ourmonologues with songs). Both books were
sense of smell can transport us -- perhapspublished by The Pentland Press Ltd./Carnegie
the most swiftly of all sensory perceptionsPublishing, England.



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