A good actor always sets you straight. If you've written a false moment and thought it was probably pretty great, the actor's gonna show you when he gets to that moment. They're the great test of the validity of the material.
Sam ShepardRead
There is this aura that the three-act play is the important one: it's the one that you do to win the Pulitzer. Some part of you falls for that, and then after a while, you don't fall for that.
Interpretation
The quote reflects the evolving perception of the significance of traditional structures in art, particularly in theater.
Sam Shepard comments on the societal belief that adhering to the conventional three-act structure in plays is essential for achieving high recognition, like winning the Pulitzer Prize. Over time, he suggests that artists may become disillusioned with this notion, recognizing that authentic expression can transcend conventional norms, allowing for more creativity and personal fulfillment.
In practice
A director discussing their choice to break away from traditional formats in a theater workshop.
A good actor always sets you straight. If you've written a false moment and thought it was probably pretty great, the actor's gonna show you when he gets to that moment. They're the great test of the validity of the material.
I stay away from heavy-handed stuff, the good guy and the bad guy. It just doesn't interest me; all it does is create more fences between people, I think.
I hate endings. Just detest them. Beginnings are definitely the most exciting, middles are perplexing and endings are a disaster. … The temptation towards resolution, towards wrapping up the package, seems to me a terrible trap. Why not be more honest with the moment? The most authentic endings are the ones which are already revolving towards another beginning. That’s genius.
There are places where writing is acting and acting is writing. I'm not so interested in the divisions. I'm interested in the way things cross over.
Democracy's a very fragile thing. You have to take care of democracy. As soon as you stop being responsible to it and allow it to turn into scare tactics, it's no longer democracy, is it? It's something else. It may be an inch away from totalitarianism.
On stage, you're not limited at all because you're free in language: language is the source of the imagination. You can travel farther in language than you can in any film.
Sculpture occupies real space like we do... you walk around it and relate to it almost as another person or another object.
The informing idea of what you want to say and do, that's what will take you from film school to professional - the idea. That's what is original to you.
All that we did, all that we said or sang must come from contact with the soil.
Every scene should be able to answer three questions: "Who wants what from whom? What happens if they don't get it? Why now?"
What a lumbering poor vehicle prose is for the conveying of a great thought! ... Prose wanders around with a lantern & laboriously schedules & verifies the details & particulars of a valley & its frame of crags & peaks, then Poetry comes, & lays bare the whole landscape with a single splendid flash.
The Actor should make you forget the existence of author and director, and even forget the actor.
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