Camerius (Ar)
Selnar (Ko-ro-ba)
Passage Hand
Year 10,174 Contasta Ar

Caste of Actors

Here are relevant references from the Books where the Caste of Actors is mentioned.
I make no pronouncements on these matters, but report them as I find them.
Arrive at your own conclusions.

I wish you well,

Supporting References

What I saw was clearly drama but it was not a form of drama with which I was familiar. The chorus, according to Drusus Rencius, in its various sections and roles, was the original cast of the drama. The emergence of principals from the chorus, of particular actors playing isolated, specific roles, was a later development. Some purists, according to Drusus Rencius, still criticize this innovation.
Kajira of Gor     Book 19     Page 101

it might be noted that many dramatic masks have megaphonic devices built into them which tend to amplify the actors' voices.
Players of Gor     Book 20     Page 47

The character, even before he greets the audience in the initial parade of the actors, is for most practical purposes established, and in rich, complex detail; furthermore it is anticipated with relish and welcomed with affection.
Players of Gor     Book 20     Page 48

In a moment the actors had returned to the stage, bowing. With them, too, were some of the actors from the earlier farces, usually presented in rounds of four or five.
Players of Gor     Book 20     Page 51

That seemed more likely than the fact that he, a fellow like him, associated with actors and carnival folk, and such, could best the arsenal champion.
Players of Gor     Book 20     Page 53

The farce is something which, in a sense, the actors and the audience do together. They collaborate, in effect, to produce the theatrical experience. If the play is not going well, the audience, too, is likely to let the actors know about it. Sometimes a play is hooted down and another must be hastily substituted for it. Fights in the audience, between those who approve of what is going on avid those who do not, are not uncommon. It is not unknown, either, for the stage to be littered with cores and rinds, and garbage of various sorts, most of which have previously, successfully or unsuccessfully, served as missiles. Occasionally an actor is struck unconscious by a more serious projectile. I do not envy the actor his profession. I prefer my own caste, that of the warriors.
Players of Gor     Book 20     Page 134

To be sure, we will still remain fundamentally true to the theater, for we are primarily, when all is said and done, serious actors. Too, our reputation depends upon it.
Players of Gor     Book 20     Page 177

"I would have thought," I said, "that a troupe of actors would have aroused little suspicion."
Players of Gor     Book 20     Page 260

In a moment, smiling and bowing, all the actors had returned to the stage.
Players of Gor     Book 20     Page 316

The performance, a pageant, had been called "The Glory of Cos" and the famed Milo, the city's most famous actor, though a slave, had played the part of Lurius of Jad. The roofed stage of the great theater, usually called that, though technically, it was the theater of Pentilicus Tallux, a poet of Ar, of over a century ago, best known for his poems in the delicate trilesiac form and two sensitive, intimate dramas, was over a hundred yards in width, and some twenty yards in depth. This incredible stage, although only the center portions of it were used on many occasions, lent itself to large-scale productions, such as circuses and spectacles. It could easily accommodate a thousand actors. Too, given its strength, ponderous tharlarion, together with numerous other beasts, wagons and such, could appear on it,
Magicians of Gor     Book 25     Page 110

it would have been difficult for him, I supposed, as he was a well-known actor, to have learned parts without being able to read. To be sure, some actors do, having the parts read to them, and they memorizing them from the hearing of the lines. This is particularly the case with women, as most parts of women on the Gorean stage, other than those in high theater, which tend to be acted by boys or men, are acted by female slaves, many of whom cannot read.
Magicians of Gor     Book 25     Page 393

The house tunics, incidentally, those worn in the house, were commonly drab, usually being brown or gray. There are fashions in such things, of course, for both the free and the slaves, with respect to colors, textures, materials, cuts, hemlines, and so on. How and when fashions changed, and why they changed, was not clear. Doubtless there were setters of trends, say, highly placed officials, wealthy Merchants, Actors, Singers, and Poets, certain women of noble family and high caste, and such, but why should one option rather than another succeed in being adopted, however transiently? Perhaps the higher, better fixed, more established or influential members of the Cloth Workers had something to do with it, with hints, with words dropped now and then, with boulevard posters, with some judiciously distributed free garmenture, here and there, and so on. Doubtless each time a fashion changed at least the high Cloth Workers, masters of the foremost garment houses, would sell more garmenture, at least to the fashion conscious, to those who were concerned to keep up with the times, to those who feared to be pitied or ridiculed for being out of style, and such.
Conspirators of Gor     Book 31     Page 97

The trial was being held in the Theater of Publius, a classic structure noted for its beauty and acoustics, with its orchestra area, currently overcrowded with jurors, not choruses and supporting assemblies of dancers; its deep, generous proscenium, or stage, on which famed artists and popular actors had performed, such as Andreas of Tor and Milo of Ar; and semi-circular banks of high tiers.
Warriors of Gor     Book 37     Page 317


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