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March 12, 2018

The question is not so much how to make a political theatre, since the theatre is intrinsically a political form; but rather how to bring the theatre into its own time. What do we need from the theatre. Don’t we need a theatre which shatters illusions instead of creating them? (Though I agree with Julian Beck when he calls for the “Imagination As The Survival Kit Of The Brain”). We are in great need of reality in our time. WE WANT WHAT IS REAL — WE WANT WHAT IS REAL — DON’T DECEIVE US — DON’T DECEIVE US (Hopi song).

If there is any meaning in the discovery that theatre has its origins in ritual forms, it is that the theatre serves a function in the community. That function needs to be defined in terms of the needs of the specific community that each theatre develops within. If an ancient culture utilized the theatre to give form and dimension to its religious ideas, it doesn’t necessarily follow that the essential function of the theatre in all cultures should be religious. Mythology se...

August 29, 2016

This is a class about the actor’s art. The velocities of appearance. As in the speed of light. About the terms of engagement with the public. About the difference between being and the deliberateness of action and performance.  About the triangulations between your intention, your body, a surrender to public scrutiny, and how that transforms you into a living work of art.

It’s about discipline, control, and the cyclical release of that control and coming back to it in different rhythms and astonishing yourself in that discovery. It’s about saying to the audience, relentlessly, “Now, I do this.  – To show you this”.  A communion of reciprocity with the public’s perception and experience.  A measure taken at every moment with them and with yourself. To show them what the essential meaning of the art can be.

This is not the “craft”.  (A word also attributed to witchcraft and casting spells, or building a table or chair).  It is the art of acting.  To become that work of art, so th...

August 14, 2016

Carlo Altomare talks about his life in the theatre. His theoretical and practical artistic views about theatre and acting. The relationship between the body, technology, and the theatre, and "creative public assembly" as the most useful and meaningful goals of the art of theatre. He also explains the essential substance of his experience working with The Living Theatre, and with his company, the Alchemical Theatre, from 30 years of experience. The interview begins with him answering a question about the body, desire, and his past experience with addiction, and then segues into his ideas and experiences about the theatre, its history, its place in human potential, his vision of the future of the art, and it's role in the transformation of culture and society. The interview took place in Eugene OR in 1997.

June 11, 2012

GIA:  Why are you in the theatre? 

CARLO:  One could answer that question in so many ways. For example, why do I choose to do theatre? Because I think it’s an important art and I believe theatre is the art par excellence of our time. Specifically the art of acting. It fits into our epic in a very urgent way as a reflection of our experience and our consciousness. Like everyone else trying to be in the world, entering the world through the theatre is the way for me. It is a bit mysterious. 

I also consider theatre to be the public assembly par excellence for our time. Therein exists an opportunity to actually discover the meaning of public assembly. When you think about it, real deliberate public assembly is confined to very few types of events. And yet we as a society feel that we’re part of a collective commonality- and that our individual lives are inextricably bound to the individual lives of other people. How we interact with each other is crucial to the experience of...

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