...that would have for its end the play without words. Gordon Craig would first do away with the actor. "The actor must go, and in his place comes the inanimate figure — the Uber-Marionette we may call him, until he has won for himself a better name."t He would not have words...

...them. Their personality effaces the work which they represent." Indeed, Gordon Craig boldly proclaims: "The actor must go and in his place comes the inanimate figure, the Uber-marionette we may call him until he has won for himself a better name." And in The Promise of...

...line which „ 15 seems to tower miles in the air. n Craig advocated the elimination of the actor. "The actor must go, and in his place comes the inanimate figure - the Uber-Marionette we may call him, until he has won for himself a better name." By the abolition of the...

...Craig, Edward Gordon. The actor and the uber-marionette. (The Mask. v. 1, no. 2, 1908, p. 3-15.) tNAFA "The actor must go, and in his place comes the inanimate figure." 3056. The game of marionettes. Letters to a friend, illus. (The Mask, v. 5, 1912, p. 145-150.) NAFA...

...famous essay on marionettes speculated on superhuman potential; Gordon Craig, whom Schlemmer quoted: "The actor must go, and in his place comes the inanimate figure — the Obermarionette ('superdoll')." A contemporary Russian writer, Valery Bryusov, demanded that "we replace actors with...

...consisting for the main part of symbolical gesture' (p. 61). He then declares that 'the actor as he is now must go, and in his place comes the inanimate figure — the Obermarionette we may call him, until he has won for himself a better name' (p. 81). Because the egoism of the actor...

...actuality and art; no longer a living figure in which the weakness of the flesh were perceptible. . . . The actor must go, and in his place comes the inanimate figure— the super-marionette we may call him, until he has won for himself a better name" (Craig, "The Actor,"...

...Five Shaggy Dog Operas," Drama Review 23, no. 3 (September, 1979): 20. 7. Edward Gordon Craig said, "The actor must go, and in his place comes the inanimate figure" ("The Actor and the Ubermarionette," in Craig on Theatre, ed. J. Michael Walton [London: Methuen, 1983],...

...human figure: the aufomaton and the marioneffe . . . The English stage reformer Gordon Craig demands: 'The actor must go, and in his place comes the inanimate figure - the Ubermarionefte, we may call him.' And the Russian Bryusov demands that we 'replace actors with mechanized...

...control; hence, Craig argues, modern theater will simply have to dispense with human beings altogether: "The actor must go, and in his place comes the inanimate figure — the über-marionette we may cal [sic] him, until he has won for himself a better name. . . . The über-marionette...