A New World: Asian Theatre in the West Today

Creativity: the Actor in Performance

“…Traditional Asian training praxes, for example, all train actors for performance. James Brandon comments that 'most Asian actor training' is 'first skill centered and then audience centered' (Brandon, 1989). It is not concerned with creativity in rehearsals or the creative relationship between actors and directors-both rehearsals and director being as good as non-existent.…”

“…In the fifteenth century, Noh actor and theorist, Zeami wrote that the actor must 'have come to an ability to see himself as the spectators do' (Zeami, 1984). This advice, argues James Brandon 'could well apply to any genre of Asian theatre: the actor must always be aware of and respond to the mood of the spectator, he must see himself as the audience sees him […] and adjust his performance accordingly' (Brandon, 1989). It might be impossible for the actor to have a completely objective picture of him or herself, but difficult though it might be, Zeami maintained that the actor must strive to develop this ability for aesthetic detachment.…”

Quando técnica transborda em poesia: Tadashi Suzuki e suas disciplinas de atuação.

“…Sobrepõe-se, aqui, o fato dos katas serem considerados "códigos performáticos à priori" (BRANDON, 1989); fixados há muito tempo em alguns casos e, em outros, criados de acordo com as necessidades e especificidades de um espetáculo. Como tal, levam à elaboração de vocabulário e de frases, estreitando ainda mais a articulação entre o treinamento técnico e a criação da cena.…”