$FWRUVRQ%UHFKW7KH0XQLFK<HDUV $XWKRU V :6WXDUW0F'RZHOO 6RXUFH7KH'UDPD5HYLHZ7'59RO1R$FWRUVDQG$FWLQJ 6HS SS 3XEOLVKHGE\The MIT Press 6WDEOH85/http://www.jstor.org/stable/1145094 . $FFHVVHG Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to The Drama Review: TDR. http://www.jstor.org Brecht ... somehow wanted a narrative theatre rather than one of illusion. He didn't want the actor to awaken the illusion that he suffered or was in agony and-to a certain extent-he didn't want the actor to "sink into a role" . And that's what I find remarkable: that he completely ac- cepted me as an actor, while I have been my whole life long an actor who becomes the role, who immerses himself in the part, in pain, or in agony, or whatever there is to present. It's remarkable that I never played in the manner he wanted, and yet he accepted me entirely in my acting method. Erwin Faber Brecht loved the actor above all else. He went so far as to say that in an age where there are no longer great actors, there are no good dramatists.