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‘How to be “Deadly”: The “Natural” body in contemporary training and performance?’

2007; Taylor & Francis; Volume: 17; Issue: 1 Linguagem: Inglês

10.1080/10486800601096055

1477-2264

Rebecca Loukes,

Theatre and Performance Studies

Click to increase image sizeClick to decrease image size Notes 2. Matthew Goulish, ‘Unwinding Kindergarten’, Performance Research, 7:4 (Winter 2002), 92–107 (p. 98). 7. Eva Schmale, ‘Sensual Unrest’, in Ric Allsopp and Scott deLahunta (eds), The Connected Body? An Interdisciplinary Approach to the Body and Performance (Amsterdam: Amsterdam School of the Arts, 1996), pp. 67–69 (p. 66). 1. With thanks to Eva Schmale, Arts Council England, the performers in Underneath Thought and Richard Brazier. 3. Yoshi Oida, The Invisible Actor (London: Methuen, 1997), p. 113. 4. F. M. Zeami, On the Art of Noh Drama: The Major Treatises, trans. J. Thomas Rimer and Yamazaki Masakazu (Princeton: Princeton University Press, 1984), p. 99. 5. Constantin Stanislavsky, Building a Character, trans. Elizabeth Reynolds Hapgood (London: Methuen, 1989), p. 245. 6. Yasuo Yuasa, The Body: Toward an Eastern Mind–Body Theory (Albany: SUNY Press, 1987), p. 18. Yuasa discusses the body from the perspective of the ‘cultivation’ of the mind/body relationship. The question traditionally asked in the West, he says, is, ‘What is the relationship between the mind–body?’ Alternatively, the question could become, ‘How does the relationship between the mind and the body come to be’ through what he calls ‘cultivation’, or practice? 8. For information on Gindler's work see Elsa Gindler, ‘Gymnastik For People Whose Lives are Full of Activity’, in Don Hanlon Johnson (ed.), Bone, Breath and Gesture: Practices of Embodiment (Berkeley: North Atlantic Press, 1995), pp. 3–14; Sophie Ludwig, Elsa Gindler – von ihrem Leben und Wirken, ed. Marianne Haag (Hamburg: Christians Verlag, 2002); Rebecca Loukes, ‘“Concentration” and Awareness in Psychophysical Training: The Practice of Elsa Gindler’, New Theatre Quarterly, 22:4 (October 2006), 387–400, and publications by the Sensory Awareness Foundation (www.sensoryawareness.org). 9. David Howes, ‘Controlling Textuality: A Call for a Return to the Senses’, Anthropologica (1990), 55–73 (p. 60). 10. Schmale, ‘Sensual Unrest’, p. 66. 11. Thomas Ots, ‘The Silenced Body – the Expressive Leib: On the Dialectic of Mind and Life in Chinese Cathartic Healing’, in Thomas J. Csordas (ed.), Embodiment and Experience: the Existential Ground of Culture and Self (Cambridge: Cambridge University Press, 1994), pp. 116 – 138 (p. 117). 12. Maurice Merleau-Ponty cited in Stanton B. Garner, Bodied Spaces: Phenomenology and Performance (Ithaca and London: Cornell University Press, 2004), p. 28. 13. Taylor Carman, ‘The Body in Husserl and Merleau-Ponty’, Philosophical Topics, 27:2 (Fall 1999), 205–226 (p. 212). 14. Schmale, ‘Sensual Unrest’, p. 66. 15. For a detailed description of Schmale's pedagogy see Rebecca Loukes ‘Psychophysical Awareness in Training and Performance: Elsa Gindler and her Legacy’ (unpublished doctoral thesis, Exeter University, 2003). 17. Eva Schmale's workshop publicity material. 18. Schmale, ‘Sensual Unrest’, p. 66. 21. Gabriella Giannachi and Nigel Stewart, ‘Introduction’, in Gabriella Giannachi and Nigel Stewart (eds), Performing Nature (Frankfurt: Peter Lang, 2005), p. 23. The authors also include the work of Elsa Gindler in this grouping, which I dispute, for reasons given in relation to Schmale's work. 19. Joseph Roach, The Player's Passion: Studies in the Science of Acting (Ann Arbor: University of Michigan Press, 1993), p. 218. 20. Ibid. Roach argues that ‘natural’ has meant something different in different periods of history, according to prevailing scientific paradigms of the body but for the purposes of this discussion I only focus on his paradigm of the contemporary performer. 22. Maxine Sheets-Johnstone, ‘The Work of Dr Moshe Feldenkrais; a New Applied Kinesiology’, Contact Quarterly, 5:1 (1979), 24–29 (p. 28). 23. Elizabeth Grosz, Volatile Bodies: Toward a Corporeal Feminism (Bloomington and Indianapolis: Indiana University Press, 1994), p. 212. 24. Ibid., p. 58. 25. Ibid., p. 23. 29. Eva Schmale in conversation with Pam Woods, Exeter: 8 January 2003. 26. Schmale, ‘Sensual Unrest’, p. 66. 27. Eva Schmale publicity leaflet. 28. Ric Allsopp, ‘Verlorengegangen’, in Ric Allsopp and Scott deLahunta (eds), The Connected Body? An Interdisciplinary Approach to the Body and Performance (Amsterdam: Amsterdam School of the Arts, 1996), p. 68. 30. Underneath Thought, 24 September 2005. Performers: Shuly Druckman, Amber O'Connell, Claire Coache, Jenni Malarkey, Rebecca Loukes, Heidi Love, and Michael Mitchell. 31. Extract from unpublished Arts Council England audience report by Ha-Young Hwang, 2005. 32. Extract from unpublished Arts Council England audience report by Alissa Clarke, 2005. 33. Carl Jung cited in Yasuo Yuasa, The Body: Toward an Eastern Mind-Body Theory (Albany: SUNY Press, 1987), p. 228. 34. Merleau-Ponty, cited in ibid., p. 171. 35. Yuasa, The Body, p. 109. 36. Ibid., p. 108. 37. Jerzy Grotowski, Towards a Poor Theatre (London: Methuen, 1975), p. 16. 38. Eva Schmale in conversation with the author, 29 August 2006. 39. Phillip B. Zarrilli, ‘Introduction to Part One’, in Phillip Zarrilli (ed.), Acting (Re)Considered (2nd edn) (London: Routledge, 2002), pp. 7–22 (p. 16). 40. Garner, Bodied Spaces, p. 11. 41. Giannachi and Stewart, Performing Nature, p. 20. 42. Schmale, ‘Sensual Unrest’, p. 67. 45. Garner, Bodied Spaces, p. 51. 43. Francisco J. Varela, Evan Thompson, and Eleanor Rosch, The Embodied Mind: Cognitive Science and Human Experience (Cambridge, Massachusetts: MIT Press, 1993), p. 28. 44. Schmale, ‘Sensual Unrest’, p. 66.