A LÉLEKMOZI. AZ ASZKETIKUS SZÍNÉSZI MUNKAETHOSZ PSZICHOFIZIKAI ÖNREFLEXIÓJA
The Soul Cinema. The Psychophysical Self-Reflection of the Ascetic Work Ethos of the Actor

Summary/Abstract: Taking inspiration from Gernot Böhme’s anthropological study, I hereby patent the designation of the actor’s self-tormenting discourse, the notion of the ascetic work ethos of the actor, whose starting point has its root in a certain kind of self-analysis. The actor’s existence, as a distinctive form of the concept of existence and the experience of our age, is defined, for me, as an act continuously laden with tension. Pedagogizing the self-tormen-ting and self-analyzing state as the basic principle of the actor’s existence provides a possible method for role analysis by the actor, for ferreting out the actions to be performed on stage. My hypothesis is that by “sacrificing” themselves and “giving birth to themselves anew”, the actor is able to embody a role. The basis for the self-tormenting and self-analyzing discourse of the actor’s creative process is the analysis of the act engendered by the relationship between actor and role. Based on the bernian concept, I redefined the playing-gaming actors notion, from the ascetic work ethos of the actor. The soul cinema is therefore the internal process of the actor’s role composition. I have to change out of Tompa Klári. This means that I have to defeat my inner structures already in place, and then transform them; that I have to rein in the existing in order to allow myself the new. The phases of the psychophysical structure of the ascetic work ethos of the actor are binary and antagonistic traits that, at the juncture of conflicting properties, transform the ACTOR/actor self in its meeting with the ROLE/role self into a playing-gaming actor who is embodied in the state of the stage self. In order to protect form the aggregation of strain inherent in the actor’s trade, the framework of the work ethos is always – at the beginning and at the end of the stage work – self-provision.

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