Korean Actor Dead

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An actor rides in a bus or railroad train; he sees a movement and applies it to a new role. A woman in agony of spirit might turn her head just so; a man in deep humiliation probably would wring his hands in such a way. From straws like these, drawn from completely different sources, the fabric of a character may be built. The whole garment in which the actor hides himself is made of small externals of observation fitted to his conception of a role.
—Eleanor Robson Belmont (1878–1979)

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Let us consider for a moment the following argument. The child plays in complete—we can well say, in sacred—earnest. But it plays and knows that it plays. The sportsman, too, plays with all the fervour of a man enraptured, but he still knows that he is playing. The actor on the stage is wholly absorbed in his playing, but is all the time conscious of “the play.” The same holds true of the violinist, though he may soar to realms beyond the world. The play-character, therefore may attach to the sublimest forms of action. Can we now extend the line to ritual and say that the priest performing the rites of sacrifice is only playing? At first sight it seems preposterous, for if you grant it for one religion you must grant it for all. Hence our ideas of ritual, magic, liturgy, sacrament, mystery would all fall within the play concept.
—Johan Huizinga (1872–1945)