Such Stuff as Dreams Are Made on

The distance between the actor and the fictional character they are playing is addressed by Manfred Pfister in The Theory and Analysis Drama , in which he points out that one of the factors determining the ‘degree of theatrical illusion’ is ‘the style of acting employed - that is, to what extent the behaviour of the fictional figure is rounded off by the actor with realistic details, or, conversely, reduced to characteristic behavioural archetypes’ (23). To the end where the actor and the character merge, or the actor identifying themselves as the fictional character, is naturalist and realist acting, e.g. of the Stanislavsky school. Examples of the other end could be Greek tragedy, baroque opera which feature ‘gestural and mimetic conventions’ (ibid.), and Brecht’s epic theatre, where actors employ ‘gestus’, i.e. showing they are acting. Besides the acting style, Brecht’s characters often present themselves in the third-person perspective. For example, Mother Courage announces: ‘H ere

  Theatre has always been fascinated with the relation between the make-believe world onstage and the reality of everyday life. According to Erving Goffman, when in a theatre, performers and audience agree to assume the make-believe world onstage and ignore out-of-frame activities that do not belong to this world. It implies a double awareness on the audience’s side that many scholars have addressed. In an eighteenth-century essay on ‘illusion’, Marmontel points out that theatre spectators are simultaneously seeing a fictional story and a real event (95). This is echoed by Pavis who names it ‘the double game of illusion’, in which theatrical illusion and reality or ‘disillusion’ can never stand alone but appear ‘always as a pair’ (178). Walton describes the experience of theatre going as between two poles: one distanced from the represented world and the other immersed in it (273). His observation reveals that this duality is not a dichotomic relation, but rather a continuum between il