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"Entering the Labyrinth"

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From the Foreword to the book 'A Peopled Labyrinth'

 

" Like any language, it couldn’t be processed until it had been rigorously put into practice. Movement and voice had to be applied with examples from within ourselves. Those who were prepared to see it through would find themselves experiencing a new relationship between impulse and gesture - the subconscious and physical action...

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... I believe, that thanks to Christopher Fettes’ profound insight into the work, his years of intimate involvement with it and his elegant rendering of it here, generations of actors will benefit immeasurably - as will their audiences. I still cannot do my job without it."

Colin Firth, reflecting on his training

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Christopher Fettes

'Prospero’s Isle' was the title of the foreword to the student prospectus of the original Drama Centre London, founded in 1963 - written by Christopher Fettes, co-founder. 

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Actor A: Anyone in front to-night? 

Actor B: Not a soul. 

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… Merely 1,200 members of the paying public.  

What do they require of you? 

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Christopher Fettes (1929-2024) was one of the great theatre and actor pedagogues of the UK, and indeed, world theatre and the cinema industry. He began as an actor, working with the legendary East London Theatre Company – Theatre Workshop under Joan Littlewood. He went on to join the ensemble at the Royal Court theatre in London during its heyday in the fifties with George Devine and Tony Richardson. After meeting Yat Malmgren, Christopher developed a career as an educator, and as a theatre director of some renown. He directed a number of famous productions – notably his seminal interpretation of Marlowe’s Dr Faustus and Schniztler’s The Lonely Road with two of his acting students, Anthony Hopkins and Colin Firth – introduced the work of Calderon de la Barca to the British stage – and created a fascination with the work of Thomas Bernhard. Christopher’s great contribution came with his joint founding with Yat Malmgren in 1963 of the Drama Centre London, an acting conservatoire that in it’s day, changed the face of training in the UK and around the world. They introduced the Method to the UK, initially with the great UK method actor Harold Lang teaching at the centre, and then by inviting Uta Hagen’s protege Doreen Cannon to head the acting department. Later, an assistant of Lee Strasberg, Reuven Adiv took over the department. Christopher’s innovation was to combine the American developments of Stanislavski with the great European Classical tradition, and the Laban Jungian system of ‘Character Analysis’ as developed by Yat Malmgren. Initially seen as a dissident organisation by the British acting world who didn’t want to endure the demands of actually ‘feeling’ something ‘for real’ as was demanded by the Method, the school kept producing notable actors. There are huge numbers of recognised British actors who owe their training to Yat and Christopher, including Anthony Hopkins, Sean Connery, Colin Firth, Pierce Brosnan, Michael Fassbender, Paul Bettany, Tom Hardy, Anne Marie Duff, Geraldine James, Frances de la Tour, Tara Fitzgerald, Helen McCrory, John Simm among many others. Graduates of the academy run National Theatres all over the world, while others like Giles, head drama schools based on the original Drama Centre model. To honour and preserve the work of Yat Malmgren (1916 - 2002), Christopher wrote the defining book about Character Analysis / Movement Psychology  – A Peopled Labyrinth. It is the only book that deals comprehensively with the subject of ‘The Histrionic Sense’ or the Law of Expression. The book was published by GFCA Publishing in September 2015, and is available to purchase from the GFCA London Studio for personal visitors, and also via Amazon.co.uk. We honour Christopher’s towering achievements.

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Yat Malmgren

Extract from Christopher's biography of Yat Malmgren, in the book.

'Teachers are more essential than anything else, men who can give the young the ability to judge and distinguish, who serve them as examples of the honouring of truth, obedience to the things of the spirit, respect for language.'

The Glass Bead Game by Hermann Hesse

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" Whatever one sets out to achieve, one tries to do one’s best, and may be successful in some cases. No doubt, it’s dependent upon the strengths or inadequacies of those whom you teach; upon the drive and the talent of the individual.

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The one thing that is essential is to teach actors the proper use of their personal resources; and definitely a respect for language, of which I taught the literary side, having taken a Degree in English at Oxford.

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I expect I’ve been very demanding, severely realistic - but perhaps that’s why the actors you mention are as respected as they have become."

Christopher Fettes, reflecting on having selected the quote above.

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