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