The purpose o“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."

"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, 1976. Producer, Director, and Founder,

                                                New York Shakespeare Festival and The Public Theater

Note:  After viewing a demonstration, Mr. Papp didn't, as you can see, describe this 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 of course recognized. I was also told by his office that it was the only statement pertaining to a study of acting that he had ever given for publication.

Glass Beads Theatre Ensemble

     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.  

    Since ancient times, the true instrument of acting has 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. But 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, but in such a way that others can deeply 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 and even the art itself, just as artists who work in other mediums

can, to develop their art without limit.   -- Mari Gorman

"The glass bead game is thus a mode of playing with the total contents and values of our culture; it plays them as, say, in the great age of the arts a painter might have played with the colors on his palette."  --Hermann Hesse, The Glass Bead Game [Magister Ludi]