Collisions in Time: Twenty-First-Century Actors Explore Delsarte on the Holodeck

Abstract

Tremendous potential resides within practice-based methodologies for researching the history of acting. It bears repeating, however obvious it may seem, that acting, as a discrete artform, has been particularly resistant to documentation and analysis. Nicol Williamson has compared the “evanescence of acting” in live theatre to “rain falling into a river; it’s beautiful and it’s gone.”²

For their assistance in preparing this chapter, I want to thank Jonathan Gratch and Stacy Marsella at USC; Shannon Rose Riley, who suggested I write it; and Mary Joan Negro for her comments.