The power of myth and the myths of power in theatre education:

Gordon Craig as Hamlet.

Abstract

This article explores the influence of literary myths and autobiographical narratives on the development of leadership and authority structures in theatre education. Through the analysis of Edward Gordon Craig and his identification with Hamlet, it unravels how cultural archetypes constructed around certain historical personalities have shaped the dynamics of power, exclusion, and prestige in modern theatre.

The research highlights the need to deconstruct the heroic tradition associated with the male figure of the stage director as the sole author of the performance, opening a more diverse, inclusive, and safe educational space. To this end, the study focuses on recognizing and valuing the contributions of marginalized women by the dominant narrative. By examining the participation of Isadora Duncan, Edith Craig, and Ellen Terry, among others, through the lens of cognitive ecologies and myth criticism, it proposes a reevaluation of theatre historiography that incorporates gender perspective and feminist criticism as tools for educational and artistic transformation.

The text argues that the genealogy of the performing arts should consider social authorship, expanded scenography, and acting creativity as builders of knowledge. By re-signifying 21st-century theatre, it moves away from the cult of intellectual genius and individualism, recognizing collective aesthetic practice and its contexts as essential in the methodology and teaching of artistic creation.

"The Power of Myth and the Myths of Power in Theatre Education: Edward Gordon Craig as Hamlet" invites a critical reflection on gender roles, authorship, and power in education and art, proposing a pedagogical approach that broadens the theatrical canon, challenges traditional hierarchies, and fosters a truly representative and enriching scenic practice for all involved.