Roy's commentary on Stanza IV of "Biodrame" from a letter
He referred to "Biodrame" as "somewhat the story of my life." ... and "slowly discovering consciousness".
It is not enough to cry with the pack, in the street, at the theatre: it is necessary to know why one is crying. Ours is a strict discipline, according to an inclusive but not permissive philosophy. In response to my first demonstrations, about ten years ago, shocked spectators, including artists who considered themselves as evolved, said my sounds were just fit for the psychiatric hospital, and certainly not for the stage.
"Accaparés par leur texte", conventional actors and singers did not dare to attempt discovering their unconscious. I studied psychology as an actor. Now I believe Roy Hart Theatre has truly outgrown psychodrama, whilst many avant-garde theatres are just beginning to discover it. Many actors only work on their technical capacity to wear a mask in order to hide the blood red substance which frightens them, but which, in my view, should nourish their performance.
I believe it is necessary for the actor to contact in himself this capacity for murder, "I'amour et la rage". I discovered my own potential for murder, and the sound expressing it, while working with Alfred Wolfsohn on the scene of Desdemona's murder by Othello - then I no longer needed any decor, costume or prop to give my performance a seeming of truth.
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