Which actress shows the most masculine characteristics

Arthur Kahane
Dramaturge's diary
Arthur Kahane

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The actors and the others

Living with actors all the time is an unbearable idea. But where are the other people you want to live with all the time? Better with the actors then.

62 There are even actorwho manage to live with actors all the time. With them it is the most incomprehensible.

Actors have more flaws than any other human being. But the same mistakes that you find unbearable in all other people are dear to you in the actor.

All people are vain. Even the actors. But vanity also wants to be skilled. The actors can. If an actor is vain, he is and knows how to play it. That's why the actors are considered to be more vain than the others. While they are only more plainly and effectively vain than the dilettantes of vanity.

The actors are accused of losing their essence through the daily pretense. I have met few people who are so anxiously looking for what is essential as the actors. But they always expect others to show them.

The art of acting is perceived as the art of lying. But what lies one has in oneself to derive into one's art and to project it outwardly, what inner truthfulness, what courage for truth belongs to it, a courage for truth that is almost shameless.

There are not two drives as similar in effect as shame and shamelessness. They are the two closely intertwined roots of the art of acting.

The actors are accused of being unmanly. The same could justifiably be said of poets, musicians, all artists, and all lovers. To love women one must understand women; in order to understand women, one must have something of the woman in oneself. In order to play love, one must have something of the woman in oneself. In order to understand anything about the world at all, one must have something of the woman in oneself. I am convinced that the same can be said of Julius Caesar, Frederick the Great, Napoleon and Bismarck. One hundred percent masculinity can only be found in the pure bureaucrat, senior teacher and guard type. Even the house servants still have, thank God! get pretty uneffeminated.

The most unmanly actors are the ones who act the most manly and look the most manly. The so-called Kraftklacheln take on hysteria with every woman. It is well known that the masculinity of athletes is mostly a - legendarily guaranteed - bluff. You can sometimes hear a song about it even in the most discreet theater.

In the theater there is intrigue, admittedly. Where not? Where three come together to form a common ground, there are always two against one. But, between us, it's not difficult to see through theatrical intrigue. They are played too well for the most naive to fall for. And their motives are so transparent that you can guess them before they're true. I don't want to have said anything against politics or diplomacy: but even in every decent commercial enterprise, in every better bourgeois household, intrigues are more dangerous. What is Eboli versus mom and pop?

64 There is rivalry in the theater. How should it not, since the success of one is the failure of the other? But it also prevails in every other profession, where the failure of the other does not mean the success of the one, but only a pure selfless and unselfish joy.

But rivalry plays such a big role in acting life, professional objectivity is stronger. I hardly know a good actor who could evade the impression of a really good performance even by a mortal enemy, and I know many who I trust to say grudgingly: "This fellow is a bastard, he is the meanest becket ever Earth, but he plays Shylock for kissing, and I don't know of anyone else who - besides me, of course! - could play better. "

And it is the same with women, only that instead of Shylock it is Gretchen, and that they add: "It's just a shame that she looked so impossible!"

Actors are the most willing people when they are led by someone they believe in, and the most unwilling, stubborn when they have lost faith. They need faith, even in this like children, they like to believe and believe well. Nobody understands faster than the willing actor, nobody more difficult, if the leader is unable to find contact with him. He becomes ruthlessly cruel when someone has nothing to give him, and acknowledges the slightest uncertainty of will, the slightest contradiction, the most forgivable error. With the most sure instinct he senses who has something to give him and is the most grateful for everything that is given to him. At least at work. Sometimes it is forgotten later.

In the work, the willingness of the actor knows no bounds. He is ready for anything and capable of anything. At every moment he walks on the last limits of his ability and strength. He does his best, but where necessary, also the impossible. There is nothing impossible for him, there is no hunger, tiredness, no need for sleep, nothing he cannot do, is not ready to try immediately. The most serious, when asked, sings, dances, walks on his hands, stands on his head. All for the sake of the man in whom he believes. I don't think that ministerial councilors would be so easily turned on their heads for their minister.

Actors are always ready to help, always ready to make sacrifices. always pleasing. Not just the actresses, but the actors too. They are all good-hearted.

After all, their spontaneously rising and frivolous kindness is more human than the ethically motivating immovability of others. "If I let the greyhound perish, it's for his own moral good."

There is hardly a second profession in which the character and its characteristics are derived so directly from the nature of daily handling down to the mysterious depths of the psychological structure. You are not an actor with impunity.

But not unappreciated either. One walks just as little with impunity under laurels as under rotten apples.

66 It's not just the role that rubs off on the actor. The roles that coincide with the actor's nature to the point of identity are by no means always his best, but very often precisely those that he has to wrest from his nature. But nothing can be wrested from nature that is not also contained in it.

That covering and this non-covering - it's a miracle when this daily boxing match with oneself, who is stronger, one ego or the other, rubs off on the ego, it seems to discolor and color it anew every day!

The final decision in this boxing match is not made by the boxer, but by the coach, known as the director.

One is vicious in the theater. Very vicious. Just as vicious as in the bourgeois world. Only in the theater the publicity of vice is greater, in the bourgeois world it is vicious.

The vice of publicity in the theater is even greater than the publicity of vice.

The nature of the actor is metamorphosis. There is none more thorough than going from the actor in the office to the actor on stage. Is that the same person, the actor in the negotiation and the actor in the work? One is suspicious, stubborn, self-obsessed, greedy, narrow-minded; the other trusting, manageable, objective, generous, full of spiritual elasticity. Just as he uses the role as an outlet for his human weaknesses, he obviously needs the office to vent his social weaknesses. He needs both to live like air and bread: the roles and the office.

67 After all, he has the purifying valves: the others, who lack them, pour their darkness uncleaned into the channels of public and private life.

The actor's soul is an evening beauty: its wrinkles and spots can only be seen during the day.

The actor's material is his voice, his mind, his soul, his passion. Basically, however, it is not voice, mind, soul and passion, but his body, which is music, spirit, soul and passion rolled into one. The body is the soul of acting.

Some actors have no idea what their role is. But her eyes, her smile, her mouth seem so witty or maybe even just so deceptively the intonation of the spirit that you understand the meaning of the text in its background better through them than through the most clever comment.

The playwright's words in the book are like unfulfilled wishes. As long as they live only in dreams and ideas, desires are vague, incidental and boundless: the reality of life is missing, it is missing to outline it, to fix it. The good actors are our secret wishes who have got two arms, two legs and one voice.

"A moment lived in paradise is not paid too dearly with death." The actor's real life consists of a number of moments, lived in paradise, which are not paid too dearly with the rest of his life.

68 The magnitude of his success and his failure, the goodness and wickedness of his performance depend on the grace of the moment. If this fails, all the laborious preparation is wasted in vain. That is why he lives like no one in the moment, from the moment, in the present, for the present. Every new creative experience of the actor brings him the charm and the danger of a new adventure in an unknown country, with an unknown outcome.

Strange profession! - Adult people who don't stop playing like they played when they were kids! Adult people who cannot get rid of their childhood dreams of aristocratic and larger-than-life people, of beauty and passion, and who imagine that they will transform them into reality when they smear fat on their faces, hang footmuffs around their chins and put their bodies in ridiculous Mardi Gras costumes! Adults who give themselves up to fooling other people with deadly seriousness for money! They are happy when other hands clap and unhappy when other lips whistle! Dependent on the applause and displeasure of the people who despise them at the bottom of their hearts until self-destruction! Endeavor to shower others with joy and beauty! Trying to wrest the most secret desires from other people and to fool them into believing those that have come to life! Endeavor to explain the meaning of life to others in changing parables and metamorphoses, which remains hidden from them! Do you do it in the hunt for yourself? Or on the run from yourself? Do you do it out of shame to hide your own soul behind masks? Or out of shamelessness that drives you to tear the last wrapping from your soul and to reveal the naked to the public? They lose the use of their own language and speak words that others have thought and that they would never have used. You feel feelings that others have felt. And they feel it stronger, better, more beautiful than the others. It is only through feeling them that the feelings become true, become real and live. Strange profession! People scream and roar, fall silent, excite themselves to the point of desperation. And why? To Hecuba!

Around a pointless nothing they have, almost unconsciously, created a second world out of appearance and play that is more concentrated, more meaningful, and in a deeper sense more real than the real one.

When the curtain has fallen and the game is over, they remove their beard from their chin with mastic, clean their face from the make-up, put on their civil clothing, go home or to the pub and are like the others. Are you really like the others? Not a little lighter, freer, hotter, richer?


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