chapter  35
7 Pages

The actor and the über-marionette: Edward Gordon Craig


Napoleon is reported to have said: “In life there is much that is unworthy which in art should be omitted; much of doubt and vacillation; and all should disappear in the representation of the hero. We should see him as a statue in which the weakness and the tremors of the flesh are no longer perceptible.” And not only Napoleon, but Ben Jonson, Lessing, Edmund Scherer, Hans Christian Andersen, Lamb, Goethe, George Sand, Coleridge, Anatole France, Ruskin, Pater,1 and I suppose all the intelligent men and women of Europe – one does not speak of Asia, for even the unintelligent in Asia fail to comprehend photographs while understanding art as a simple and clear manifestation – have protested against this reproduction of Nature, and with it photographic and weak actuality. They have protested against all this, and the theatrical managers have argued against them energetically, and so we look for the truth to emerge in due time. It is a reasonable conclusion. Do away with the real tree, do away with the reality of delivery, do away with the reality of action, and you tend towards the doing away with the actor. This is what must come to pass in time, and I like to see the managers supporting the idea already. Do away with the actor, and you do away with the means by which a debased stage-realism is produced and flourishes. No longer would there be a living figure to confuse us into connecting actuality and art; no longer a living figure in which the weakness and tremors of the flesh were perceptible.2