Reflections on the 2020 International Platform for Performer Training
For three days in January 2020, the University of Kent’s
drama department hosted the 7th edition of the International
Platform for Performer Training with a focus on how words operate in
performer training. The platform was organised and led by Paul Allain,
Professor of Theatre and Performance, Stacie Lee Bennett-Worth, PhD
candidate at De Montfort University and Honorary Research Associate at Kent,
Alicja Bral, PhD candidate at Kent, and Dr Roanna Mitchell, Lecturer in Drama
and Theatre also at Kent. The event involved some 50 participants, mostly from
across Europe, in a lively mixture of short workshops, presentations, talks and
Sessions focused on community-based applications of
training, voice and text work, languages used in training pedagogies, speaking
dreams and inhabiting avatars, verse-speaking and the breath, ideas drawn from
Russian and Polish theatre and Grotowski especially, using film for training
and how circus tends to ignore the voice. The journal Theatre Dance and Performance Training had a continual presence at
the platform, offering itself and this blog as spaces for continuing our
physical and vocal dialogues. Here we take up this challenge.
Bennett-Worth created this collage to visually and textually though silently activate some of the energy, ideas and words circulating during the platform, also depicting many of the people involved.
Please click the image below to open in a new window which will allow you to zoom in.
In the Bible, Words came first. In performance practice, words probably followed movement, dance, art and sounds. Who knows….? Exploring what comes next, this seventh edition of the International Platform for Performer Training will investigate how words function in, of and for Performer Training across three broad areas:
How the denotative or nonsemantic properties of words in performance are explored through training, and how movement, voice and text can be combined to achieve an integrated mise-en-scène (or not)
How trainers use words in training practice, in order to exhort, encourage, clarify or instruct as well as what they do and don’t say, to whom and when;
How words that are written about training, be it our own practices today or that of others past or present, might document or act as inspiration for practice.
Thanks for Task 9. Here are my reflections. Below them you can find my Task 10.
Reflections on Task 9 – Do as you normally do
After the first day of practicing I sat down to document the order of Asanas to make sure I’d remember the sequence for the following day. I looked over it swiftly before my practice on Day 2 and after practicing on Day 3 I started to add some thoughts.
When I described the task to my partner Alan, who also practices yoga, he suggested that I could record my sensory experience as I do the practice: what I see, smell and hear, as an alternative to the more subjective somatic approach of interpreting what’s going on in the body. I decided to give this a go and copied and pasted the order of postures in Sanskrit and added the moments of perception next to the Asana as they stood out for me as I practiced:
Green mat, ‘What are we doing?’ Alan asks.
3 x Surya Namaskara A synchronised breath.
2 x Surya Namaskara B
Padanghustasana unsynchronised breath.
Padottanasana shuffle back, giggles.
My foot slips off my leggings Vrkasana
Surya Namaskara A
Purvattanasana I look over to Alan
2 x Urdhva Dhanurasana
Soft rug Savasana
I was interested in trying out the obstruction that Alan had mentioned but then something caught my attention when I was recording my sensory experience in relation to the posture names. The Sanskrit language of yoga speaks to my senses in a completely different way to the language of English. When I read English, I take on board a meaning of a word or entire sentence through a ‘mental’ cognition. My knowledge of Sanskrit is mainly limited to posture (Asana) names. For that reason, the Sanskrit names of postures do not provide me with a sense of ‘mental’ understanding but give me pictures in my mind and often bodily sensations. I read ‘Padanghustasana’ and I feel my head hanging down and my fingers wrapped around my toes and my belly gently touching my thighs. I read ‘Purvattanasana’ and I see the transition from Paschimottanasana and feel my body stiffen and the stretch over my shoulders as it recalls the effort to lift my hips.
I’m blinded by big overhead lights 3 x Surya Namaskara A.
Loud Danish kids’ songs.
2 x Surya Namaskara B I try to hear my breath.
Parents looking at phones or minding smaller children.
Trikonasana A small boy. I smile at him.
A gust of air as Lisa runs past me.
Alan’s hands on my shoulders Parvritta Trikonasana
Silence for a moment Padottanasana then more loud music echoing with the sound of feet running in the hall. The small boy in my vision again.
Sirsasana the sound of a ball hitting the ground
Lisa interrupts me with a big gym ball. I help her do backwards walkover over the ball.
Lisa on exercise bike.
Ardha Kapotasana A child is crying.
I ask Alan to take a few photos of me Purvattanasana.
2 x Urdhva Dhanurasana
Salamba Savangasana I look into the bright light again. A ball rolls behind.
I lay down Savasana Something flies over my head. I get up.
The juxtaposition of Sanskrit and English became an oscillation between a bodily and mental experience of the practice, of feeling and experiencing postures in Sanskrit through my body and perceiving the surroundings in English through my senses.
I take off my glasses. Blurred room.
3 x Surya Namaskara A
2 x Surya Namaskara B
A sweet smell of ice cream. Lisa shrieks with joy.
Padanghustasana ‘Wheels on the bus go round and round.’
The door goes, my dad enters.
Trikonasana ‘How did it go?’ I ask.
Parvritta Trikonasana His account of events.
I gaze towards my fingertips and just see a blur.
Padottanasana My dad: ‘That’s very impressive Marie’.
Vrkasana Fridge door opens – a bottle is being opened. Footsteps: ‘is it not beer o’clock?’ Laughter. Alan and my dad both cheer.
The door to the entrance opens. Sound of shoes clicking on the floor. My mum. ‘Hello’, then to Lisa: ‘Har du haft det godt i børnehaven?’.
Purvattanasana cheerful chatter
Alan’s eyes on me Urdhva Dhanurasana
My mum’s contour above me. ‘hvad spiser I i aften? Savasana ‘det ved jeg ikke’. Eyes closed. She walks off. Loud TV noise of children’s voices. I get up and walk over to Lisa to help her pour a glass of milk. My dad steps on my mat with his shoes. I pick up the mat.
Task 10 – Words that move you
Your task is going to be to seek out a text or a collection of words that have a similar effect on you as to what I describe in my reflections on Task 9: Find words that for one reason or other make you feel them physically rather than mentally. It might be to do with language or perhaps the text brings back a physical memory, perhaps it’s simply their aesthetic appearance that brings on the bodily sensations. When you have found your words/text reenact the physical sensations that the words/text brought on. What is the relationship between the somatic and mental understanding of the words/text?