‘We all know instinctively what ‘mad’ thought is: mad thoughts are those which people find unacceptable, and train us not to talk about, but which we go to the theatre to see expressed.’
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1/2: ‘The improviser has to understand that his first skill lies in releasing his partner’s imagination. What happens in my classes, if the actors stay with me long enough, is that they learn how their ‘normal’ procedures destroy other people’s talent.
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2/2: Then one day they have a flash of satori – they suddenly understand that all the weapons they were using against other people they also use inwardly, against themselves.’
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“We don’t know much about Masks in our culture ... because [it] is usually hostile to trance states. We distrust spontaneity and try to replace it by reason.”
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“…we don’t realise how much of our lives is spent in some form of trance, i.e. absorbed. What we assume to be ‘normal consciousness’ is comparatively rare, it’s like the light in the refrigerator: when you look in, there you are ON, but what’s happening when you don’t look in?”
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'To understand the Mask it's also necessary to understand the nature of trance itself'
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End of conversation
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