A play must revolve on actions, they must push the play forward, not the text. These actions must be concise, o rat least clear so the audience is able to understand them, for this an actor must be well prepared. When watching Yuyachkani we watch an amazing spectacle and the actors have prepared themselves in different martial arts and different disciplines, music and have learned different languages. All this push the envelope forward and allows for different performances to be able to happen.
When reflecting on what makes a good actor we must not only focus on a Western point of view, also think of Andean theatre, or theatre from different parts of the world, i.e Asia for example. When watching a performer from the Saqra comparsa we notice a different perspective, they have a different purpose, they don´t look fro portraying realism, they dont experiment with different ways of breathing. They are in the middle of a celebration and dont really focus so much on coordination and so on.
In kabuki actors are much more dettached and look to perform the kata perfectly, following the tradition, as well with Noh theatre. They are not looking for realism, which reminds me a bit of Gordon´s Ubbermarionnette, but instead to portray the actions.
I can conclude a good actor is one which always tries to explore the possibilities within its field, whether it is kabuki, noh, Paucartambo or Yuyachkani. However this gets me thinking of another question, if an audience used to watching kabuki acting will be able to appreciate the work of a good actor?, for instance, from Yuyachkani
Interesting entry. Good final question. By now, you should be trying to answer those.
ResponderEliminarRoberto