❈Performing Arts

Theatre requires only an empty space, someone crossing it and someone watching; everything beyond that is convention, and most of it is deadly.

What blocks spontaneity is social, not creative: status transactions govern every scene, and most training teaches people to censor themselves.

A history of stage illusion that explains the methods, and shows the real craft was always misdirection rather than apparatus.

Builds performance from given circumstances and objectives rather than from imitating emotion — the source of nearly every acting method since.

Treats choreography as a craft with statable principles — design, dynamics, rhythm, motivation — rather than as inspiration that cannot be taught.

The first systematic analysis of drama: plot above character, the unity of action, and catharsis as the point of watching people suffer.