The stage is a concrete physical place which asks to be filled, and to be given its own concrete language to speak. I say that this concrete language, intended for the senses and independent of speech, has first to satisfy the senses, that there is a poetry of the senses as there is a poetry of language, and that this concrete physical language to which I refer is truly theatrical only to the degree that the thoughts it expresses are beyond the reach of the spoken language. These thoughts are what words cannot express and which, far more than words, would find their ideal expression in the concrete physical language of the stage. It consists of everything that occupies the stage, everything that can be manifested and expressed materially on a stage and that is addressed first of all to the senses instead of being addressed primarily to the mind as is the language of words...creating beneath language a subterranean current of impressions, correspondences, and analogies. This poetry of language, poetry in space will be resolved precisely in the domain which does not belong strictly to words...Means of expression utilizable on the stage, such as music, dance, plastic art, pantomime, mimicry, gesticulation, intonation, architecture, lighting, and scenery...The physical possibilities of the stage offers, in order to substitute, for fixed forms of art, living and intimidating forms by which the sense of old ceremonial magic can find a new reality in the theater; to the degree that they yield to what might be called the physical temptation of the stage. Each of these means has its own intrinsic poetry.
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In short, the building becomes a theatrical demonstration of its functional ideal. In this romanticism, high-tech architecture is, of course, no different in spirit -- if totally different in form -- from all the romantic architecture of the past.
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In short, the building becomes a theatrical demonstration of its functional ideal. In this romanticism, High-Tech architecture is, of course, no different in spirit-if totally different in form-from all the romantic architecture of the past.
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The language of the younger generation has the brutality of the city and an assertion of threatening power at hand, not to come. It is military, theatrical, and at its most coherent probably a lasting repudiation of empty courtesy and bureaucratic euphemism.
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The actor who lets the dust accumulate on his Ibsen, his Shakespeare, and his Bible, but pores greedily over every little column of theatrical news, is a lost soul.
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Be reflective...and stay away from the theater as much as you can. Stay out of the theatrical world, out of its petty interests, its inbreeding tendencies, its stifling atmosphere, its corroding influence. Once become
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A Carpaccio in Venice, la Berma in Phèdre, masterpieces of visual or theatrical art that the prestige surrounding them made so alive, that is...
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I am so used to seeing the sort of play which deals with one man and two women. They do not leave me with the feeling I have made a full theatrical meal they do not give me the experience of the multiplicity of life.
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