THE NATIONAL AND UNIVERSAL IN EUROPEAN ART AND EDUCATION. ARTISTIC AND SPIRITUAL FEATURES IN THE ART OF THE 21ST CENTURY ACTORS
THE NATIONAL AND UNIVERSAL IN EUROPEAN ART AND EDUCATION. ARTISTIC AND SPIRITUAL FEATURES IN THE ART OF THE 21ST CENTURY ACTORS

Summary/Abstract: As we are all aware of, theatre, as opposed to film stands under the spectrum of transience. Every show is unique and cannot be repeated identically. Under this shadow, what steps can the actor take so that his success, if it is a success, doesn’t fade with the fall of the curtain? Moreover, we ask ourselves what are the elements that help the actor continue to be full of energy that he is ready to invest once more, after he has been through the gates of heaven and hell and back? When I came across the topic of this essay, I didn’t expect it to be so difficult of an endeavor. The hardship also stems from the multitude of elements that belong to the privacy of my profession. On the basis of research undertaken by professionals in the area of expertise, as well as on my personal experience on stage, I came to the conclusion that, there isn’t a mandatory need in the actor’s art for certain techniques, for models that he should take on at different stages of his performance. Every actor brings with him a personal technique, and the attempt to acquire a manner different from his own cannot lead to first-rate performances, unless by pure accident. However, the common landmark that actors can rely on is becoming again conscious of the relationship with their own inner being, with their creative self. I believe that, under 21st century’s conditions, people, actors or viewers need more than ever, a theatre that is re-invented, in other words, spiritualized. “The conclusion isn’t all rosy: the theatre isn’t about debating ideas, but is about making energies become manifest, and then you are left asking yourself what can is there to be done so that the energies manifest not as brute expressions of lower impulses, is it not by intellectual refinement? It goes without saying, intuition is a formidable weapon in sensing tension, but without the aid of the mind, it becomes a blind impulse meant to excite impure essences. The result is a theatre of a low vibration, as are most flashy plays nowadays. To dwell in feelings of regret over how low the bar has gone down for acting is a waste of time and a more useful endeavor would be to look for its causes and its remedy”. (Sorin Lavric)

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