I have looked to the groups of central and eastern Europe and found too much of our own theatre wanting. For theirs is a Theatre of the Heart, a drama of the soul, s stage of tears and laughter alike, of hate, love, loss and renewal. Of blood and fire. Of the family, the clan, the ancestors, of the madness of change, of loyalty and loss, of revolution, of being caged and breaking free, of soul-touch and conflict.
Yet we in the UK have not been idle and we are fools to try to mimic them. For we are resident at the borderland of binary, either-or improvisation and creation; we have faced the Ghost in the Machine; ours is a New Naturalism born of the despair of sustained material detachment, of the fear of the astonishment of self-knowledge.
We have dragged the heart into the head and experienced its the deathlike quality of intellectualised feeling..
Part of an actor’s development of authentic spontaneity has to involve self-deprogramming. It involves freeing the self from the fixed forms, clichés and patterns of binary “either-or” thinking that dominate the binary media. It involves the sometimes painful, often astounding rediscovery of the quality of quality.