Filtering by: Day 4

Nov
30
2:30 PM14:30

Connecting the Five Senses in the Actor Training of Theatre

By Gopalan Nair Venu and Kapila Venu (India)

“The objects of your ‘inner attention’ are scattered through the whole range of your five senses” – says Konstantin Stanislavsky in his treatise An Actor Prepares. The assimilation through the five senses in acting has been a unique aspect of the training methodology that was followed in Kerala, especially at the Kodungallur Kalari; that it had not been mentioned in Natyasastra makes it more exceptional. However, Balaramabharatham, the treatise on dance composed by Maharaja Kartika Tirunal Balaramavarma contains references to the association between acting and the five senses.


We review an acting exercise connecting the five senses developed by us at Natanakairali based on all the available documents for the teaching method of Navarasa Sadhana. 

For the last decade, the Abhinaya Kalari of Natanakairali at Irinjalakuda had been witnessing the efforts to introduce the Navarasa Sadhana as a mandatory part of the actors’ daily practice/training. Many dancers and actors from various fields of performance working within both India and abroad have already been imparted the primary training in this system. Efforts are continuing on this work.

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Nov
30
11:00 AM11:00

To Gather. Together.

By Li Xie (Singapore)

In the face of rapid changes, individualism and uncertainties, how do we gather as a community? How do we create collectively and disagree respectfully?

How do we as artists, relinquish control and let the audience decide THEIR theatre, as we stand with them?

This interactive work demo will illustrate the process and flexible adaptation of The Lesson - an immersive and participatory social performance (first presented by Drama Box at Singapore International Festival of the Arts 2016). Created by Li Xie and team, The Lesson has since toured Taiwan and Rotterdam.

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Nov
30
9:00 AM09:00

The Difference Butoh Makes: Skills and Creativity Training for the Contemporary Actor-Creator

By Frances Barbe (Australia)

This work-demonstration explores butoh-inspired structures for improvisation intended to assist performers in skills training and creative processes. It presents exercises as opportunities for self-observation and the chance to expand range. It also considers butoh’s potential for uncovering the complexity of the interaction at the heart of theatre and performance between a performer’s inner-world, their chosen outer-form and their spectator’s meaning-making mechanism

  • What does it mean to be “convincing” or “authentic” in performance, particularly in heightened and non-naturalistic work? 

  • What does butoh, which arose from dance-trained pioneers, have to offer the contemporary theatre actor in terms of psycho-physical skills and creativity?
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