On Cabotines
On Cabotines

Summary/Abstract: Why are we so upset because of cabotin actors? Perhaps there isn’t any actor's art teacher that does not sometimes mention to the student, when his performance is heading for a not required comic role or a not required default stage situation, saying, almost invariably, the same reply : "Do not be a cabotine!". The cabotine almost never escapes the watchful eye of a theater critic, who, sometimes without seeing the good things, remembers him as "guilty" and ruthlessly punishes him, from a nimb, in the performance subsequent chronic. Even a good part of the audience turns out to be quite impatient with him, making him feel the hall’s coldness, making him feel that all the hard work does not pay off. That sense of the scene partner, used during the show, serves the actor even in his relation with the public. Every theater practitioner knows this. There is no urgent need to be hilarious, loud laughter in the audience, to know that you are funny in a certain moment of the show. There's no need for applause after each spectacular sequence on the stage to know that you were really quite dramatic in the interpretation. You just feel that the public “is with you".

• Details
• Contents