method * <h4 align=right>View from the Stage</h4>
<blockquote>
<h3 align=center>AUDIENCE: BIRTH OF ACTOR</h3>
<blockquote>
"If Stanislavsky said that the soul of the theatre was the actor, then Meyerhold's formula was: `The actor plus the spectator.'" [1]
<p>
<i>"The mirror in the case of the actor is the audience."</i>
Piscator[2]
</blockquote>
<p>
Audience? What could be more easy top understand? We all are
spectators. All the time...
<p>
And this is a problem. That's the reason why we have such a
difficult time noticing ourselves. To understand the nature of
Public is to discover how Theatre works.
<p>
<blockquote>
"Actors should be overheard, not listened to, and the
audience is fifty percent of the performance." -- Shirley Booth
</blockquote>
<p>
Any experienced actor knows it too well. I know it -- I'm a
director. I direct actors only for one single purpose -- they
have to direct the public. Public is their material. The final
stage of drama, the experience of the show takes place over
there. Does Audience perform? Each spectator does.
<p>
There's a moment when Theatre begins. "Empty Space" -- said
Peter Brook. The watched space isn't empty. It's full of energy.
Actors gave a name for this feeling of stepping in this "empty
space" -- "stage fright." The audience (even when it's only one -
a director) charge the stage with power (potential energy). What
actor does? How uses it. He releases it the way a nuclear reactor
does it.  (Not a bomb, uncontrolled explosion of energy, madness
of crowd).
<p>
The Entrance -- not only stage space but audience imagination (actor's birth of "stage"). Missing this moment of appearance, actor wouldn't be able to function. Each actor's entrance effects the whole balance of stage space (gravity and space in Einstein's theory of relativity). Novice actors feel as if they are (personally) are the subject of public attention -- public cares less about actor, only his role in the space of the show. Role is a relation (product) of the character and the show. Next -- character, we need to understand how it function in order to anticipate the future action. Actor still is and should be not noticeable behind his role (mask, as they say).
<p>
NB. Vakhtangov School: the extreme theatricality of the director
(Meyerhold) and the complete naturalism of the actor (Stanislavsky).
<p>
Multiple nature of Spectator: creator, instrument, material.
Show business (spectator--spectacle), visual. But most dramatic
experience when he forgets that he sees, he is not watching
action anymore, he lives it (identification). 
<p>
Spectator, a single member of the audience.
<p>
Partner(s): One and Many. "Spectator 1 -- Spectator 2" do not communicate but experiencing show together through stage identification. Two and more spectators create Audience. Audience
into Public. "Stage Pyramid" directed at the House; the same with
the Public. (Stage or Theatre?)
<p>
<center>
T H E A T R E<br>
S H O W<br>
ACTOR
<p>
ROLE<br>
CHARACTER
<p>
SPECTATOR<br>
A U D I E N C E<br>
P U B L I C
<p>
</center>
The two pyramids are connected through Role/Character. Role
is performed character. Magic mirror (Stage) should be seen as
Spectator's Inner World, a foundation for His Field of
Imagination. The Public is the source of energy which creates
Theatre Space.
<center>
	     LIFE<br>
	---------------<br>
           \       /  <br>
	    STAGE<br>
 	     \	 /
<br>	     ACTOR
<br>      /        \
<br>     AUDIENCE
<br>   -----------------
<br>	     PUBLIC
<br>	      LIFE
</center>
<p>
Stage relations (all elements, not only actors) organized by
the public, for the public and of the public. 
<p>
Two Partners (Second actor or The Scene, Two Interactive
Universes within World of Spectator).
<p>
Stage Distance and dynamics of Distance with the Stage.
<p>
<i>Other body</i> -- The Second Monologue.
<p>
Golden Triangle: Connections between actors through the audience only.
<p>
<center>
       	Actor 1----Actor 2
<br>		     \  /
<br>	           Audience
<p>
Basic Communication Model:
<br>	Sender/actor --> Media/show --> Receiver/spectator
<p>
ACTOR 1 <---> ACTOR 2
<br>X
<br>SPECTATOR 1 <---> SPECTATOR 2
<br>AUDIENCE (tonight public)
<br>PUBLIC
</center>
<p>
Dramatic Relations: Spectator is a part of the Message, because conflict can't be recognized (realized) without him. Without audience "parts" of drama make no sense. Audience is an external composition of drama.
<p>
How is actor born out of Spectator?
<p>
WATCHED NOTHING
<p>
The audience's stare alone creates dramatic tension -- every
actor knows it -- stage fright. Dramatic space is full of energy
created by many watching empty space (stage). Attention thrown at
nothing, expectations of drama (we know it's about to happened)
-- actor's fear before crossing the line. The mirage of actor is
already in there. That's how the world was created. The power of
watching for word (actor). It's a space full of time: it's not
empty anymore. It's "watched space" ready for actor to be born
into it. They, the public, provide time segment. Under God's
eyes: not one par of eyes but several hundreds. Stage is space
where nothing "real" take place; life with her accidents and
surprises is separated in order to create a small spot of free
space. Whatever about to happen in this clean sacred space
wouldn't be real (nobody would be really hurt or killed); and
such violation of nature make it dramatic.
<p>
How does actor create a stage-space for himself out of nothing? The Empty Space becomes a dynamic space as soon as the Actor/Medium is placed in it? Meyerhold further notes that very similar connections between space, time and matter exit in Einstein's theory of relativity; those three elements are inseparable. Movement/energy is essential quality of matter (147). Does it mean that the very absence of actor in "theatre space" is a violation of "theatrical laws" -- spot light asks for actor to appear.[3] The way actor enters this space (energy) give the space different weight, structuring time accordingly. 
<p>
"Acting is melody, directing is harmony... I discovered that
not long ago, and I astonished myself, the definition was so
exact. Don't you think so?.."[4]
<p>
"The audience's emotion is a very infectious thing." (MS 319)
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<p>
CHURCH TRADITION[5]
<p>
The sixties and interest in rituals had return a religious
dimension into theatre. We're avoiding any talks about
Aristotelian "catharsis" -- not in actual, metaphysical terms.
<p>
What a pain to see somebody going through years of training
without a major breakthrough. They hold back. They fight you.
They're closed up structures, they don't want to try.
<p>
"I am who I am."<br>
What a nonsense!<br>
"I die every night." Nietzsche.<br>
"I am born every morning." Paul.
<p>
Actor lives through this death and birth many times a day. That's how a child lives -- and therefore grows.
<p>
Bad theatre = without the audience, only with public. With no personal addresses. No meassage, was said.
<p>
<i>SUMMARY</i>
<p>
Audience:  Public, second actor's ego is made up of those who
witness the event through dramatic (emotional, intellectual)
participation.
<p>
<i>NOTES</i>
<p>
See SPECTATOR's directory @ Theatre w/Anatoly 
<p>
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