I think a writer approaches a character from inside out and an actor from outside in. Both have to come to a consensus on the character. The char IMO is created by both the actor and the writer. Although the writer chooses the words, a clever writer will know that he does not own the character and will worry whether the he is at odds with the actor in his take on the character.
Peter, you said there were places where you were uncomfortable with the playwrights choices in dialogue; has there been any instances where you were uncomfortable with the playwright's choice of action for the character? Have you ever had your study of a character not fit one action that the writer has him do. I am not asking for specifics. I do not think you are dodging my questions. I am learning a lot by your posts. For me this opportunity is God sent.
Thanks for telling me your best theatre experiences. I might have missed that question. I am afraid I am being very selfish with my questions. I like lysistrata. I studied it as a "play about war". Lucky faldage. I will not ever see that musical, but as they say never say never.
