Theatre And The Broken Heart ~Michael Armstong

Some years ago, when I

was going through my self help book phase (most of us have had at least one) I came across a passage in a book by John Bradshaw where he talked about broken hearts. He su

Some years ago, when I was going through my self help book phase (most of us have had at least one) I came across a passage in a book by John Bradshaw where he talked about broken hearts. He suggested that it is not the heart that is broken but rather it is the hard shell we build around around it to protect it that breaks. When that happens, the heart is vulnerable; things can enter and things can escape. It is a time of great pain but also a time of great opportunity.

I have learned over the years that the best work we can do as actors is done with a broken heart. We gently remove the hard cases from around our hearts and we lay them aside backstage in the anticipatory dark and we make our way out into the light fully vulnerable. It is the gift we give to our art and to each other, the gift we give to our audience. Our true unprotected selves. It is thrilling and oh so dangerous.

It is also rare. Not every actor is capable of this work; in fact, most aren’t. We develop craft to compensate and protect ourselves. And good craft is capable of building a dazzling and convincing verisimilitude of truth.

The truth, though, that it is a different animal. A dangerous predator that stalks the wings. It can eat us alive. Actors are notorious for their broken lives. There is a reason for that. To willingly come face to face with that predator, we must have created such a supportive and welcoming community amongst our company that we feel safe enough to remove our armor and stand naked in front of each other and in front of you. It takes courage and it takes trust. We stand back to back, we link arms and face the beast.

Building a community like this is an ephemeral thing that depends so much on each individual’s willingness to participate fully and honestly. It happens rarely because so much is asked of each participant. The playwright has laid a path and we can do what we can as directors and actors to open the gate but the decisions to step through it are made alone. I cannot ask them for this, I can only open the gate.

There is no shame in not stepping through. This is not a contest. We each do what we can. We join hands and together we make what we can. Wonderfully entertaining theatre is still possible without walking that path. But you know, and I know, that being in the presence of truth is another thing altogether. It is a rare thing.

Rumi wrote, “Out beyond the ideas of wrongdoing and rightdoing, there is a field. I’ll meet you there.” Out there in that field, we are unleashed. The walls are down and our hearts are broken wide open. This is what we aspire to, this is why our new company is called Unleashed Heart Productions. The stage is our field and we want you to meet us there.ggested that it is not the heart that is broken but rather it is the hard shell we build around around it to protect it that breaks. When that happens, the heart is vulnerable; things can enter and things can escape. It is a time of great pain but also a time of great opportunity. 

I have learned over the years that the best work we can do as actors is done with a broken heart. We gently remove the hard cases from around our hearts and we lay them aside backstage in the anticipatory dark and we make our way out into the light fully vulnerable. It is the gift we give to our art and to each other, the gift we give to our audience. Our true unprotected selves. It is thrilling and oh so dangerous. 

It is also rare. Not every actor is capable of this work; in fact, most aren’t. We develop craft to compensate and protect ourselves. And good craft is capable of building a dazzling and convincing verisimilitude of truth. 

The truth, though, that it is a different animal. A dangerous predator that stalks the wings. It can eat us alive. Actors are notorious for their broken lives. There is a reason for that. To willingly come face to face with that predator, we must have created such a supportive and welcoming community amongst our company that we feel safe enough to remove our armor and stand naked in front of each other and in front of you. It takes courage and it takes trust. We stand back to back, we link arms and face the beast. 

Building a community like this is an ephemeral thing that depends so much on each individual’s willingness to participate fully and honestly. It happens rarely because so much is asked of each participant. The playwright has laid a path and we can do what we can as directors and actors to open the gate but the decisions to step through it are made alone. I cannot ask them for this, I can only open the gate. 

There is no shame in not stepping through. This is not a contest. We each do what we can. We join hands and together we make what we can. Wonderfully entertaining theatre is still possible without walking that path. But you know, and I know, that being in the presence of truth is another thing altogether. It is a rare thing. 

Rumi wrote, “Out beyond the ideas of wrongdoing and rightdoing, there is a field. I’ll meet you there.” Out there in that field, we are unleashed. The walls are down and our hearts are broken wide open. This is what we aspire to, this is why our new company is called Unleashed Heart Productions. The stage is our field and we want you to meet us there.