By Jade Rosina McCutcheon
Awakening the appearing physique is an exemplary paintings of practice-based examine provided in a pedagogical structure. this article is obviously laid out for any appearing instructor who needs to pursue a extra non secular method of performing and perform the aim of reclaiming the sacred in theatre - or certainly for any appearing instructor who seeks a extra physique headquartered and imaginitive method of personality and actor-audience connections. This ebook is an important contribution to appearing pedagogy. in line with ok. Brask, collage of Winnipeg, Canada the following ultimately, is a deep, probing and completely attention-grabbing inquiry into the palpable but unseen forces at paintings and at play within the theatre. McCutcheon, flaming torch in hand, has entered the mysterious darkish cavern the place one understands there's a magic trade. AWAKENING is an awakening - to hyperlink brain, physique and spirit - to holistically mine appearing schooling the place the total individual is engaged, in order that magic we lengthy for and crave, turns into anything one could got down to appeal to into the sunshine - now not whatever one hopes may perhaps seem if we're fortunate. a unprecedented paintings. - Dean Carey, creative Director/Founder, Actors Centre Australia
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Additional resources for Awakening the Performing Body (Consciousness, Literature and the Arts, Volume 17)
Sometimes using song as a vehicle of expression, he would suggest “sing your name…evoke this Joseph. 55 Known for his somewhat ruthless approach towards pushing the actor beyond his limits, he created many ritual tasks for the actor involving grueling physical challenges that would serve to alter the actor’s waking senses in a very real way. James Waites,56 in an article on Grotowski in RealTime,57 related details of being used as a human plough and made to stand in freezing water in a large tub while standing on pineapple tops.
We imagined a circle around us and sent “prana” rays of communion into the space and to each other. Stanislavsky said “send the prana there – I want to reach through the tip of my finger – to God – to the sky- or, later on, my partner. 19 It is clear from the recent research by White that Stanislavsky and the Moscow Art Theatre Actors were deeply engaged in the exploration of ‘prana’, breath, yoga postures, breathing rhythms and energy radiation. As White’s article covers much of this, as well as postulating theories as to why this aspect has not been included in the version we have today of Stanislavsky’s technique, I will not go further into the mounting evidence of Stanislavsky’s use of yogic philosophy and exercises in the development of his actor training system.
The approach to actor training explored in this book is aimed to access the inner spaces and to develop a language and understanding of consciousness in ways that empower, excite and constructively aid the actor in her creation of character and quality of acting. It is clear that these inner spaces of self are difficult to articulate. Each practitioner quoted is searching for a way in, to access the ‘hidden vaults’. They all knew that the depths of creativity lay within these places, past consciousness, deep within the self, and difficult to describe in words although the writing of feminist philosopher Hélène Cixous invites us towards these places, ‘It is deep in my body, further down, behind thought.
Awakening the Performing Body (Consciousness, Literature and the Arts, Volume 17) by Jade Rosina McCutcheon