steven berkoff, theatre dada, theatre dribble thoughts

 https://www.youtube.com/watch?v=FCyEVQz6JBw

gielgud

trevor howard

edmund kean

thinking about acting stuff,, intereted in it in a performance art, pushing boundaries? kinda way

like art pushing physical and mentally, rimbaud thing of overwhelming the senses to give oneself a large almost spiritual experience. one that can change u profoundly and tear up and realign how you think and see urself

would like to combine physical theatre n performance n music one day..?

https://www.youtube.com/watch?v=Fx0Z6y2HmlM&t=646s

dada emerged in switzerland at the tail end of WW1
if logic can lead to war, then art should abandon logic and focus on non-sense, intuition, and anarchy

rlly need to read artaud's book again

https://thedramateacher.com/surrealism-theatre-conventions/?utm_content=cmp-true

Acting and Characterisation

– fragmentary characters (not fully rounded, incomplete)

– unmotivated characters

– sometimes a dissociation between actor and character**

– use of clichéd dialogue*

– caricature

– mechanical, robotic movement

– telegraphic speech*

– grotoesque, unsavoury, impolite, irreverent characters

– nonsensical dialogue*

– characters performing as if they are puppets

– intense satire

– experimental use of language*

– disturbing, nightmarish atmosphere***

– comedy > anarchic humour, sometimes burlesque-ish

*similarities with absurdism

**similarities with Brecht’s epic theatre

***similarities with German expressionist plays

'sometimes a dissociation between actor and character'
inch resting.......

brecht alienation effect:
https://www.youtube.com/watch?v=GoRzT7r_PyE

placcards, ruining the plot, 
big house lights, 

https://en.wikipedia.org/wiki/Distancing_effect

 the actors attempt to alienate the viewer from any passive acceptance and enjoyment of the play as mere "entertainment". Instead, the goal is to force viewers into a critical, analytical frame of mind that serves to disabuse them of the notion that what they are watching is necessarily an inviolable, self-contained narrative.

such as playing dialogue forward to remind the audience that there is no fourth wall, or guiding the cast to act "in quotation marks". The actor (usually with the director's permission) may play scenes with an ironic subtext. These techniques and many more are available for artists in different aspects of the show

https://en.wikipedia.org/wiki/Surrealism#Surrealist_theatre

Instead, he envisioned a theatre that would be immediate and direct, linking the unconscious minds of performers and spectators in a sort of ritual event, Artaud created in which emotions, feelings, and the metaphysical were expressed not through language but physically, creating a mythological, archetypal, allegorical vision, closely related to the world of dreams.

https://en.wikipedia.org/wiki/Theatre_of_Cruelty

Artaud warned against the dangers of psychology in theatre and strove to create a theatre in which the mise-en-scène, everything present in the staging of a production, could be understood as a codified stage language, with minimal emphasis on spoken language.

The theatre is a practice, which "wakes us up. Nerves and heart, and through which we experience "immediate violent action" that "inspires us with the fiery magnetism of its images and acts upon us like a spiritual therapeutics whose touch can never be forgotten."

[Nietzsche's] definition of cruelty informs Artaud's own, declaring that all art embodies and intensifies the underlying brutalities of life to recreate the thrill of experience ... Although Artaud did not formally cite Nietzsche, [their writing] contains a familiar persuasive authority, a similar exuberant phraseology, and motifs in extremis ...

— Lee Jamieson, Antonin Artaud: From Theory to Practice, Greenwich Exchange, 2007, p.21-22

think i wanna do some sort of dancing, possibly ballet i think.. n then go from there, bc i really wanna reconnect some wires between brain n body..