The 12th Annual TaPRA Conference will be co-hosted by University of Bristol, UK from 5th to 7th September 2016 (see: http://www.tapra.org/ )
The Performer Training Working Group has been meeting for eleven years and has produced several collaborative outputs, including a variety of contributions to the thrice-yearly journal, Theatre, Dance and Performance Training, dedicated to training in all its manifestations, and the associated bloghttp://theatredanceperformancetraining.org.
Konstantinos, Maria and Tom, the working group co-convenors, are delighted to issue a call for contributions for the forthcoming 2016 TaPRA conference on the theme Speech and Text in Performer Training.
We are interested in a range of presentation formats including the following:
- formal papers (max 20 minutes)
- provocations or position statements (max 10 minutes)
- instances of practice as research or short workshops/demonstrations (1 hour)
As I write this blog, my predominant emotion is curiosity: I am wondering how you feel as you read it. Specifically, I’m curious how you feel about Grotowski. He has always been a divisive figure in the world of theatre and performance, from his first days in the international spotlight in the early 1960’s. He seems to invoke either adulation, or outright rejection. Richard Shechner famously called him “shape-shifter, shaman, trickster, artist, adept, director, leader”. If you are willing to satisfy my curiosity, and tell me how you feel about Grotowski, then read on.
In the process of my own research and writing on this subject, I have been inviting participation and personal testimony from anyone who feels that some aspect of Grotowski’s work has had an impact on their own practice. If you would like to make contact and contribute, you can do that by emailing me directly at email@example.com and I will send you a page of “prompt” questions. Alternatively, you can visit my Facebook page: Grotowski/Kumiega: Re-Write https://www.facebook.com/Grotowski.Kumiega/
This series of video clips offer glimpses of the six Workshop Approaches documented in Dorinda Hulton and Maria Kapsali’s Yoga and Actor Training (Routledge 2016) DVD/booklet that focusses on ways in which the practice of yoga may be applied towards actor training purposes. Six Workshop Approaches are proposed, and contextualised with a historical overview of the use of yoga in the work of Konstantin Stanislavski, Jerzy Grotowski and Joseph Chaikin. Within the six videos, as well as the publication as a whole, two key perspectives are proposed as being directly, or indirectly, helpful to actor training: the first is an understanding of yoga in relation to actor training that does not prioritise, or pit, ‘interior’ against ‘exterior’, ‘mind’ against ‘body’, ‘mental’ against ‘physical’, but recognises their interdependence and interconnections. The second is an understanding that the ‘internalization’ of attention, which may be perceived in aspects of yoga, is not inimical to the creative processes of a contemporary actor, but can contribute to the cultivation of an attitude of ‘alert receptivity’ that is particularly relevant to processes within actor training.
The third video clip derives from Workshop Approach 3 which focuses on an application of the lying down yoga posture Savasana as a pathway towards tapping into the student actor’s imagination. It proposes that the channels within the posture between ‘inside’ and ‘outside’ offer effective psychophysical tools that can help student actors to engage with writing, and creating, their own performance imagery. A glimpse of this process may be seen in the clip selected here. In it the student actors are guided in the practice of Savasana, during which there is a shift in attention from placing the body very precisely in ‘exterior’ space towards awareness of the breath and the ‘interior’ body-mind, as well as the sources of energy inside the self (Iyengar 1978).