The beauty of realistic acting is the dynamic territory between the inner and outer life , and the audience’s navigation of this territory. What the actor shows is what we take as real, and inside is the dream; we reconcile the two. (In bad realism, we interpret the dream through the medium of the real – we explain the external behavior as if certainty were the guarantor of actuality – which is clearly, experientially false). In high functioning realism, there is reverberation between the inner and outer lives – as if the territory were being swept by the sound of bells from invisible temples.
Puppets are inside out. They dream on the surface; we project into the surface for their secret human (in the way that Pinocchio’s inner boy comes out of him, comes to surface… or that’s how his transformation feels to me). We imagine a “real” being trapped inside. With puppets, the audience, associating, learns how to operate inside a dream, instead of learning how a dream operates inside the word we see. The territory between the surface of a puppet and the life inside is full of the sound of language going away, being decreated, pushing back to the very personal moment before speech – even more than personal: human.