Phillip Zarrilli was a theatre scholar, teacher, actor trainer, actor, director and dramatist with particular specialisations in intercultural performance, actor training and contemporary acting. His life-long work took many different shapes as he wrote, taught and created work extensively around the world until his final days.
Zarrilli went to India initially to research about kathakali dance-drama in 1976, and between 1976 and 1993, he lived there for a total of seven years during which he trained in yoga and kalarippayattu. Under the guidance of Gurukkal Govindankutty Nayar of the CVN kalari, Zarrilli was the first non-Indian to receive the traditional pitham representing mastery in kalarippayattu and was given the official status of gurukkal. In 2000, Zarrilli opened the Tyn-y-parc in Llanarth, Wales, the first kalari outside of India, where he held annual intensive Summer training until 2019. When he was invited to take over the Asian-Experimental Theatre Programme at University of Wisconsin-Madison in 1979, Zarrilli learnt taiqiquan from his predecessor A.C. Scott. Putting together yoga, taiqiquan and kalarippayattu, Zarrilli shaped a psychophysical training for contemporary actors.
Zarrilli’s training and theatre practice was intercultural and psychophysical in nature. The rich diversity in nationalities, cultures and generations are not only inherent in the make-up of the training but also evident in the international community cultivated by his work and generosity. In this tribute, we would like to reflect on what we learnt as Zarrilli’s students and collaborators focusing on the training as we experienced it.
Below I have posted a letter from Kaite O’Reilly regarding the recent passing of Phillip Zarrilli. While this may not be news to some of you, I wanted to pay tribute to Phillip on this platform in the most fitting way. In the coming months, we will be posting reflections on Phillip’s work from some of his alumni, and if you would like to contribute, please feel free to comment on this post or contact me at firstname.lastname@example.org if you would like to write a stand-alone post from your own perspective. Rest in peace Phillip.
On 9th March 2020 when Phillip received the news from his oncologist that the cancer he had been living with for fourteen years had begun to ‘seriously party’ (his words) he said to me ‘this is our last adventure together.’
I have been so fortunate, having this great mind, this gentle and generous man as my companion in so many ways – loving, working, living, travelling, thinking, writing and making performance alongside him for twenty one years, with and without The Llanarth Group. The journey may continue, but now it is in parallel, perhaps, not our accustomed hip-to-hip together.
Phillip died on 28th April 2020 at 13.52 UK time. He rode out on a breath – like so many times in his teaching he spoke of riding the breath to that moment of completion at the end of exhalation – the space in-between at the end of one cycle before the impulse of the next inhalation begins. This time came no inhalation.
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 →
Mei JiaoYin is a PhD candidate in “Theory and Research in Education”, at The University of Roma Tre, Italy. Her first 20 years of life were in Hangzhou, China, where she studied “Art Education” in Zhejiang Normal University. For the last ten years she has been living in Italy and teaching creativity dance. Mei recently attended one of DUENDE’s training & performance residencies and is now at The DUENDE School for just the first two weeks of the course, before returning to Italy to complete her PhD.
I started to observe my state of body, emotion and movement, without judgment, just simply observe all that is there: fear, qualities and aliveness.
I accept everything that appears though observation, just like an adventure, I don’t know where it will take me, but every moment is so exciting to explore myself. For example, these days in the Ball Game, I notice my body when I react in the moment of catching the ball: breathing becomes rapid, toes grip the earth, sometimes I try to beat the ball. By simply observing the body I can connect with my fear and it is interesting to play with fear. When is the next ball coming? I just focus on my breathing, and a new feeling comes, that moment is so wonderful! This experience gives me the opportunity to discover myself.
Hannah Waters is a UK-based performer. She studied both BA and MA (Physical Acting) at The University of Kent. Her Masters dissertation explored ‘Applying the systematic principles present in constructivist artwork to a method of physical theatre composition’. As part of her time at Kent Hannah also studied at the University of California.
I came to the DUENDE School of Ensemble Physical Theatre this autumn dragging all the traits of a life spent in formal education in the UK with me, traits that I am beginning to address, unpick and challenge as I approach my third week of training at DUENDE.
This is my first foray into vocational training after four years at university: I previously undertook a BA in Drama and Theatre Studies and an MA in Physical Acting, the latter of which I completed a matter of weeks before I made the journey to Athens to begin my work. And so I have made the leap from the world of academia to another, very different world, where my perceptions of myself and my work have suddenly been challenged in ways they never have been before.
The DUENDE School of Ensemble Physical Theatre is meeting in Athens, Greece, through the autumn. Each week a contributor to the school will write a short reflection for this blog.
This week’s post is written by Manjari Kaul. Manjari studied Arts and Aesthetics at Jawaharlal Nehru University, Delhi before becoming a Primary School Teacher, Performer and Director.
Manjari attended The DUENDE School in 2015 and has returned in 2016, at the School’s invitation, to explore in more detail the pedagogy of the work – with a view to running DUENDE training sessions in India and perhaps organising an iteration of The DUENDE School in India in the future.
Manjari is one of DUENDE’s Associate Artists.
This post is an attempt to understand how my training in Ensemble Physical Theatre might be used as a tool by school teachers in the classroom. I will explore the possibility of viewing a Primary/Middle School classroom as akin to an ensemble that must be alive in the here and now, responding to ever evolving dynamics.
I set up DUENDE in 2010 – intending to nurture a loose collective of artists who shared a core training (Self-With-Others) and yet brought distinct and individual skills to the company. From the start DUENDE was committed to international and intercultural exploration and to a core belief in the idea that principles of ensemble lie at the heart both of live performance and of the pedagogy through which the skills of performance might be passed from generation to generation. DUENDE is committed to honouring and extending lineages across generations and collaborations across borders.