The purpose of this theatre is to engender global theatre based on the essential art of the stage--what Jean-Louis Barrault called “the art of the human being.”  

The purpose of this theatre is to engender global theatre based on the art of acting, the essential art of the stage, what Jean-Louis Barrault called “the art of the human being."

     In painting, each stroke of the artist's brush both adds to and changes a picture. In acting,


each stroke of the confluence of a character's relationships at any moment both adds to and


changes a character's life. Actors create such strokes of relationships through an intuitive and


inexplicably mysterious process, just as any art is created. But painters use brushes and


paints, and musicians use musical instruments and notes, and there is nothing mysterious


about the instruments or materials of their art.  


    The true instrument of acting has, since ancient times, been a mystery. It is why many of


the world's greatest actors say they don't know anything about acting and those who do try


to explain it are so vague on the subject. It is possible for great actors to create wonderful


living characters because the true acting instrument is the same organic operating system


with which real life relationships are produced, and some actors are gifted with an ability to


engage it artistically. This ability is comparable to the ability that singers gifted with a great


vocal instrument have, or the natural ability to draw that people born with the gift of great


hand-eye coordination have.  Some actors intuitively know what a real life feels like and can


create characters that have it, in such a way that others can experience it.  


     

    This relationship-producing instrument, which could also be called an information


synthesizer but is in reality a self-organizing complex system, is a discovery resulting from an


exploration of acting I began over forty years ago. It is inherent in everyone and functions


whether one uses it artistically or not. But it is what gifted actors intuitively use in the creation


of characters' lives because life exists--manifests--as relationships, and relationships are the


substance of acting: the language of story-telling on the level of life itself. 
     


    There is no technique attached to this instrument, just as there is no technique attached to


a piano or paintbrush. Very good actors have their own techniques, which can vary from role


to role. Great actors often have very quirky ways of getting into characters that only they


understand. Certainly, as an actor, I wouldn't care to be in a situation where I had to act


according to a certain technique. Characters are approached and created in innumerable


ways, depending on many often largely unpredictable factors. There is no telling how or what


will enable an actor to connect with a character. But whatever it is, it is from there, with that


connection, that the actor enters into a character and begins to weave the fabric and story of


the character's life, which is composed of its relationships. It is an intuitive process. Actors


draw from the world, the world of the play and their own lives to create multi-dimensional


characters. With an understanding of this instrument as an actor, which is one and the same


as an instrumental understanding of relationships, actors have the freedom as artists to push


the boundaries of their acting just as artists who work in other mediums can, to develop their


art without limit.  


"Mari Gorman's work is rich and stimulating. The multi-dimensional techniques she has


discovered for probing the life of a role are based on sound acting principles. Students


of the theatre will find her passionate approach a most rewarding experience. Her work


towards the Ideal Theatre most certainly merits support."


                                              –Joseph Papp, Producer, Director, and Founder

                                                New York Shakespeare Festival and The Public Theater

-- Mari Gorman

Note: Mr. Papp did not describe my work as an acting technique, but rather as "multi-dimensional techniques for probing the life of a role." There is a world of difference between these, which he recognized. I was also told by his office that it was the only statement pertaining to a specific study of acting that he had ever given for publication.

Glass Beads Theatre Ensemble