| The Stanislavsky school of Method Acting | | | | -- to a place the most distant in our memory |
| applies to the audience as well as the | | | | corners. An extremely remote mental image |
| players. When sitting in a theater absorbing | | | | from many years ago can be catapulted to the |
| the dialogue, character interaction and | | | | front row of our thoughts without warning -- |
| visual display of staging and sets, each | | | | a flash of mental lightning in a clear, |
| audience member processes elements of the | | | | cloud-free mind sky. When dialogue involves |
| experience objectively first, and then | | | | smells, scents and aromas, old memories dart |
| subjectively. Just as Method actors learn to | | | | to front stage center in our |
| delve within their past experiences in life | | | | thoughts.Occasionally our imaginations will |
| -- to gain understanding of each moment's | | | | take charge, replacing the actors we view on |
| combined layers of sensory stimulation with | | | | stage with images of people we know or |
| their emotional, psychological, physical and | | | | characters housed within our memory banks. It |
| even extra-sensory impact -- so do theater | | | | may be that a particular stage action or |
| goers.While sitting in a theater audience | | | | phrase of dialogue will trigger the |
| becoming engrossed in the world of drama | | | | spontaneous appearance of this image before |
| unfolding before us, our degree of | | | | us -- a passive, foggy photo brought to |
| involvement is a progression through our own | | | | startling real-time life by association. When |
| sensory layers. At first, we feel somewhat | | | | this 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, we | | | | view this memory person off-stage. Regardless |
| move closer, beginning to "zoom in" and focus | | | | of our first reaction, this upstart character |
| on each theatrical element. We examine them | | | | invader or impostor will usually enrich and |
| closely -- the multi-hued montage of stage | | | | enhance our perceptions and comprehension of |
| sets, costumes, dialogue, movement and | | | | the 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 sync | | | | dramatic truths.And sometimes at the close of |
| with a part of our own life experience, and | | | | a theatrical performance -- long after the |
| we make an instantaneous dynamic connection, | | | | applause, curtain calls, bravos and cheers |
| becoming a notable element of the moment's | | | | subside, we still sit transfixed, mesmerized |
| universal theater.When the production is | | | | beyond our individual and collective |
| truly captivating and enthralling -- when we | | | | comprehensions 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 its | | | | dynamics of a play. And then we come to the |
| vibrant drama, quantum physics is at its | | | | realization that we are each playing a part |
| optimum. At this point we are, in fact, as | | | | in the creative control process.After all, |
| one with play and player. Our presence and | | | | early tribal dance and song sprang from the |
| level of input reach the stage as its | | | | ongoing 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 production | | | | tribal 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 the | | | | Stanislavsky compelled actor and audience to |
| production.If the performance includes music, | | | | delve deeper within ourselves for answers to |
| our affinities with its various elements are | | | | our basic questions of human understanding |
| often realized immediately. For, music has | | | | revealed. And modern day dramatic |
| been declared many times to be the most | | | | experimentation and improvisation, along with |
| universal means of communication. A few notes | | | | audience participation, poeticize and |
| of a familiar melody, or a tune somewhat | | | | choreograph the human need to share in the |
| similar, can bring instantaneous flash-backs | | | | physics and drama of life's evolving |
| to events and locations in experiences now | | | | enactment.Ellen Gilmer is a writer-composer |
| past. People and places otherwise distant in | | | | and artist who lives in New York City. |
| our memories spring forward to inhabit our | | | | Crystal Clear Artforms, her creative arts |
| present thoughts. At times these vivid | | | | business, is dedicated to the development and |
| memories take over, dominating our mindset | | | | promotion of Thematic Arts (creative |
| even as we leave the theater. More often, | | | | expression in multiple art forms). Ellen's |
| however, they enrich the overall theatrical | | | | work includes promotional writing and |
| event, bringing us closer to the performance | | | | articles, and she is a member of the Agora |
| and to a keener understanding and | | | | International Press Corps / AWAI Travel |
| appreciation of it. Many people agree that | | | | Writers Group. She has published two books: |
| the truest essence of any memory can be | | | | La Belle Famille (a novel); and Free Style |
| brought most completely to the present by | | | | Run of the Heart (a book of dramatic |
| music.Olfaction also causes quick recall. Our | | | | monologues with songs). Both books were |
| sense of smell can transport us -- perhaps | | | | published by The Pentland Press Ltd./Carnegie |
| the most swiftly of all sensory perceptions | | | | Publishing, England. |