Phillip Zarrilli: Pre-Performative Psychophysical Training of the Actor/Performer

Inspired by Jerzy Grotowski but seeking his own pathway as a young theatre director working in Minneapolis, over forty years ago Phillip Zarrilli began a life-long project of exploring an alternative approach to the pre-performative training and preparation of the actor/performer using the techniques and underlying principles of Asian martial arts (taiqiquan/kalarippayattu) and yoga which would move actor training beyond Stanislavsky.

Over the years, Zarrilli developed a rigorous, in-depth, immersive process of training and preparing the actor’s bodymind for performance through the in-depth use of these traditional exercises—applied specifically to acting/performance problems. Continue reading

BodyConstitution in Wrocław

In What a Body Can Do (Routledge 2015), I asked why there aren’t more functioning laboratories dedicated to exploring the intersection between martial arts and performer training. This interdisciplinary connection has been hugely productive in Europe throughout the twentieth century, not to mention the much longer-standing relationships between martial and performing arts found throughout Asia. But it is hard to think of even one institution in Europe or North America that aims explicitly to innovate theatre, dance and performance training practice by placing it in dialogue with martial arts and physical culture more generally. While many individual practitioners and scholars do excellent work in this area, institutions tend to be oriented towards one domain or the other. And we still tend to see martial arts as cultural entities rather than fields of knowledge.

What would a laboratory of martial and performing arts look like? In order to create substantive interdisciplinary interactions, care would have to be taken to create the kind of ‘third space’ described by Pil Hansen and Bruce Barton in their article on ‘Research-Based Practice’ (TDR 53.4, 2009): a space in which specific flows of martial and performing arts would collide without either one being subordinated to the other. BodyConstitution, a project developed by the Grotowski Institute in Poland and funded by major grants from EEA/Norway, is the closest I have seen to such a laboratory. The project is ‘programme of research in practice at the Grotowski Institute,’ which has involved numerous formats of exchange, including four annual seminars (2013-2016), each about a week long, drawing together a wide range of international performers, teachers, and participants. I was recently a guest at the final BodyConstitution seminar and want to use that experience as a starting point to highlight the value of the project as a whole. (For more details and reflections on the 2016 seminar, see Jen Parkin’s post below.)

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