ACT!

"More than a paradox, the insight to recognize an 'encounter' of antagonists creates an authorial path, free from psychological and limiting constraints, for the actor's creation."

"because there is no technology superior to the Actor"

I outline a path for actors and actresses entirely grounded in Eugênio Kusnet's techniques combined with the theories and practices of David Mamet, so that theater artists can see that the "so-called" character is a limiting factor in their horizons.

In some rehearsals, I had the opportunity to delve deeper into the "vice" of "creating" through "psychologizing." That "character creation" is nothing more than the artist's distancing themselves from their unlimited capacity to play. There is no technology more advanced than the Actor-Actress; they are countless, endlessly vast, and limitless. If you understand that you need to free yourself from this illusion that is the "so-called" character construction,

Knowing what happened to my character as a child doesn't interest me! Creating this little story is not only a waste of creative energy, but also an obstacle to creating without cheap psychologizing. My character is a fantasy, not a documentary. He is Action, and his performance lasts a little over an hour.

An actor pretending to be a person is not a character simply because a character is not a person. A character is an element in a work, and the function of this element is to ACT according to Objectives that determine a series of ideas that, scene by scene, constitute a play.

When actors and actresses are completely free from the vice and temptation of explaining away the absence of content in order to give them some psychologically stabilizing foundation, they will be ready to enter the game with the purpose of creating, free from invented mental agreements that only serve to take up space and distract from what is truly important.

In the ART OF ACTING, we delve into Physical Action, seeking to analyze Scenic Action in action. The Actor-Actress does not study the character, does not know it beforehand, only receives instructions based on the growth of improvisations and, step by step, creates their scenes based on discoveries free from psychological obstacles.

Becoming capable of playing the game for the sake of it, which is determined by words without characters to cling to. A simple yet challenging game, it's limitless, and to achieve this requires intellectual determination to analyze objectives. Voltaire said that words were made to hide feelings. Saying them isn't a purpose, it's a result.

Knowledge of the Art of Acting guarantees, as long as belief is absolute, a result our stage performers will never again be able to escape.