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D. Hersh
Research Interests

Theory is only purposeful if explored through the practice. Theory must inform
practice, and in turn, practice must develop theory.

Bringing the Artistry Back to Acting Through Myth
Joseph Campbell identified a monomyth deeply integrated in the human experience
throughout recorded history. By tapping into the essence of the human (and,
therefore; individual) monomyth, the actor can bring forth a connection to the
audience and enter a communion on a deeply artistic and aesthetic foundation.

Like all great artistic theory, the ability to practice, and have that practice inform
and shape a continual theoretical exploration is key. Using Campbell and Jung as
guideposts, students will marry an action driven technique with archetype and
journey research to develop deeper character. Through a continual exploration of
self and human experience, artists will develop a stronger connection to the
material and the audience.

Liminality in Religious Based Theatre
The actor, in performance, is both aware of his/her theatrical surroundings, the
play, the audience; as well as, the process of living through the action of character.
The Catholic Priest is both head of a religious ceremony and an in-actor of Christ
during the consecration of the Eucharist. The Kootenai Shaman enters a non-sexed
liminal state serving as a liaison between the tribe and the spirit world. The entire
City Dionysiawhere catharsis is the ultimate goalis both a performance and
spiritual rite to honor and appease the gods.

The great dramas of Greece, Sanskrit drama from India, Japanese N drama, and
Cycle Plays from Medieval Europe all serve the dualistic liminal purpose. Can this
liminal state explored in great theatre of the past serve to aid the practice of modern
era theatre? How can the actor be both in the moment and completely in control
and aware of the theatrical devices where the work must live?