PSALMS AS THEATER JARGON. In this series of 4 videos I demonstrate that many Psalms illustrate the Platonic and Aristotelian dialectical thought of the Michael Chekhov acting technique, gestalt therapy & kabbalah. In later videos I will illustrate how Psalms and Book of Exodus symbolism can be used by directors, actors, dancers and singers to integrate Jewish tradition into the theory and practice of their performances. For example, actors working in the Brechtian tradition talk about "the performer on top of his material getting hits". Psalm 24 says nearly the same thing: "to the Lord belongs the land (the actor's forms) and the fullness of it (the actor flooding the forms with new ideas)". The Brechtian performer declares himself to be free from the system or matrix of forms which he has set up as his acting score ("the land"). He feels he is getting creative ideas every moment, like some imaginary god looking down on a world he is creating. He calls the forms he is illuminating with those here and now ideas "live form" (full of life). He regards the forms that other performers who do not have this multi-level, multi-track point of view about what they are doing as "dead forms". They are presenting to the audience merely the cliches of what Michael Chekov labels their "lower self" rather than the truth being discovered in the "messianic now" by their "higher self". You do not need to be either religious or Jewish to find this perspective useful, since the same sort of dialectical thinking is used by most religions and also by most authors of non-relgious aesthetic theories. Take, for example, the Marxist aesthetics of Bertold Brecht or the Mabou Mines theater company.

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