Now we face the real difficulty. Catching a moment of truth demands that all the finest efforts of the actor, director, author and designer be united; no one can do it alone. Within one performance, there cannot be different aesthetics, conflicting aims. All techniques of art and craft have to serve what English poet Ted Hughes calls a “negotiation” between our ordinary level and the hidden level of myth. This negotiation takes the form of bringing what is changeless together with the ever-changing everyday world, which is precisely where each performance is taking place. We are in contact with this world every second of our waking life, when the information recorded in our brain cells in the past is reactivated in the present. The other world which is permanently there is invisible, because our senses have no acess to it, although it can be apprehended in many ways and at many times through our intuitions. All spiritual practices bring us towards the invisible world by helping us to withdraw from the world of impressions into stillness and silence . . . [Theatre] exists to offer glimpses, inevitably of short duration, of an invisible world that interpenetrates the daily world and is normally ignored by our senses.
Peter Brook, The Open Door
Light Cue 23
Notes from the Drafting Table
Copyleft
The text of Light Cue 23 by Lucas Krech is licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License.
Based on a work at lucaskrech.com.
