HOMO ACTUS

On acting...

 
 

On ACTing...

Movement training for actors can be described as a form of work which transform the impulses into abstract forms by using all the possibilities of the body. Like sound, movement, thought, imagination, emotion and breath...

Our perception of the body in modern world is generally fragmented. As if the body segregated physically, intellectually and emotionally. Movement practices helps to remove this division and reminds our innate holistic functioning of body & mind.

By becoming aware of senses and sensory inputs, actors' emotional world is transforming into creative action on the body. Intellectual, emotional and physical impulses starts to support sub-text and also supports text & character relationship. 

Nothing we do on stage is accidental, especially the usage of the body. It may look similar to daily life but it is very different indeed. It requires physical, mental and emotional completeness, awareness and control. In our everyday movements, There is often no consciousness. We move naturally. However, the most basic way to define bios on stage (the life that the actor created on the stage) is by recognize the daily movements of the body.

Eugenie Barba said that, tendency to distinguish between dance and theater causing a risk for actors ignore their body and for dancers ignore their creativity. This causes a cavity lacking of tradition and a deep wound. 

However both actors and dancers are using their body in same rate on the stage. Art, art material and art work fuses in a single physical thing; Human Body. 

Descartes opened the door to the pragmatism for the western world by saying: "Cogito ergo sum" or "I Think therefore I am" and carried the journey of mankind to a different point. In my opinion this saying cause a disadvantage over time on western world. The body began to be excluded since we assume ourselves only about our thoughts and our minds. 

What I learn from anatomy, developemental kinesiology, sensory integration, trauma, neuroscience, psychology has brought a much more holistic aspect on my approach to movement practices and body. I combine this knowledge with methods of Konstantin Stanislavsky, Vsevolod Meyerhold, Michael Chechov, Lev Dodin, Antonin Artaud, Jerzy Grotowski, Augusto Boal, Tadashi Suzuki, Peter Brook and more... 

In my teaching I create my own method as Grotowski suggested; I share my experience with my students and  I invite them to a journey towards their bodies.