Asbabsehat Understanding the Eastern and Western views of the body can have a deeper meaning in actor training. This is because understanding the value systems of different groups that cannot be easily understood by science alone. Is important because of the long-standing differences in thinking between East and West.
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In the 20th century, both East and West experienced the collapse of traditional value systems and the hollowing out of social values. This is about the phenomenon of the vacuum of values, such as the crisis of Christian culture, which has been playing the role of a strong conservative in Western society, the discoloration of the traditional Confucian values that have dominated Eastern society, and the collapse of the socialist value system that occurred along with globalization and openness. It demanded the creation of an appropriate value system.
The traditional view of the body, which reveals how the human body is viewed and fundamental views on the body itself, differs from the traditional view of the body according to the value systems of the East and the West. According to the changes created, the body view also changed.
The Western traditional view of the body developed from the metaphysical dualism of mind-body dualism after the ancient philosopher Plato, based on the epistemology of the modern philosopher René Descartes. has been taken as a basic requirement for
From this emphasis on the idea or reason, we can find the opportunity to see acting as both a mental and a physical aspect.
The dual acting theory emphasizing the rational aspect was in full swing by the philosopher Denis Diderot in the 18th century and Benoît-Constant Coquelin in the 19th century, and in the 20th century, the theory of acting by Constantin Stanislavski was interpreted psychologically. It leads to Lee Strasberg.
On the other hand, traces of mental superiority dualism can be seen in non-representationist acting theories such as Vsevolod Meyerhold and Etienne Decroux.
And the attempt to overcome the dualism of mind and body in acting begins to proceed in another direction.
Along with the emphasis on the importance of the body in modern acting, it is mentioned more earnestly in non-representative theater theory.
Like Antonin Artaud or Jerzy Grotowski or Eugenio Barba. In addition, a more in-depth approach to overcoming dualism is achieved through encounters with Asian traditional plays, as seen in the case of Phillip Zarrilli.
As such, all the great acting theories after Stanislavski show not different views of the human being as an organic unity of mind and body, despite their different styles and philosophies.
This is because desirable acting inevitably originates from human beings as an organic whole.
However, in the light of Eastern traditions, this is actually not a new discovery.
In Eastern thought, the body is interpreted as a body by combining “身” and “体”.
The terms shin (身) and body (体) are both used to mean the body. However, the meaning is different.
If God is an organism in which body and mind are harmonized,
The body is a visible, physiological body,
In addition, God (身) refers to the body, such as status or personality.
When the body is a vessel, the spirit includes the vessel and the spiritual and intangible value contained in the vessel.
In other words, it is natural that the human body is made up in such a way that the mind resides in the body and the mind affects the body.
The body is not made up of opposite structures of mind and body, but is the body itself, a part of nature and the cosmic system, and an organism in which mind and breath are harmonized.
Such interest in the body or body is a post-logoistic cultural ideological flow of this era that seeks to break away from the center of mind and reason.
In this context, speaking of acting of the body, acting as a recovery of the body or resistance of the body against a play in the past, which took precedence over reason, mind, inner side, the theme of the play, and the given character of the character, etc. can be explained as.
There is nothing as important as basic training in all education and systematic. Basic acting education is definitely necessary for actors.
Basic education in acting education should be organized systematically and organically in interconnection. This should ultimately form the basis of nurturing the ‘acting arts literacy and character’ of actors.
Such basic training for actors should be trained to reach creative nature through the holistic participation. Of body and mind through a holistic understanding of the nature and concept of acting.
To this end, we focus on awareness and recognition of the body, which is a direct subject and expression medium. Understand the characteristics of the body and the principle of movement, remove tension through relaxation. Develop muscle strength and flexibility, and By understanding the correlation, the body, sound, reason (intelligence), and emotion (emotional). Must coexist organically and achieve a balance. This is done based on the body, which is the essence of an actor. Therefore, basic physical training for the body, which is the essence of an actor, is necessary.
The Importance Of Physical Training
Actors act using tools such as ‘body, sound, reason, and emotion’.
The root is in the body, so learning must be done through physical training.
The purpose of physical training here is not to increase technique or body muscles.
It means training the ‘body, sound, reason, and emotion’ so that they can cooperate organically.
Breathing organically connects these four things.
So, the actor must train to remove unnecessary tension so that the body and breathing can connect naturally.
There are many different methods of physical training.
Here are some simple examples.
movement that many of you know, but how you train it is important.
External is important, but
This is because harmony between the inside and the outside is important for actors.
Roll up and roll down while recognizing each spine
If you compare the difference between performing an action with concentration and recognizing it and following only the external form, you will be able to feel the difference, and you will feel the freshness through these trivial notices.
Gently press your pelvis to the floor and lower back muscles so that the upper and lower muscles meet each other.
Bridge pose you know a lot.
In fact, it is better to use the shoulder more than the waist for the bridge movement.
At first, we focus on making the external shape, but as we breathe,
If you move your body while thinking in the integrated aspect of your body, you
You will discover the finer details.
In addition, there are many more different actions and methods.
But the key is not to perform external actions.
The point is that you need to train the outside and the inside to coordinate organically.
Adequate rest is also important.
But rest is often overlooked.
Rest helps our body recover from fatigue.
I think it is a necessary process for developing the cognitive abilities and senses of actors.
I think that an actor’s work on himself is a work that he should do for the rest of his life.
The root is the body.
There are various ways to train this body, such as dance, acrobatic, and martial arts.
We must not forget how to achieve harmony between the inside and the outside. Not just the formal training of these methods.
Actors act based on their own body, so physical training is essential, not optional. And we must not forget that the physical training of an actor should be an encounter between the inside and the outside.
Because it’s actor training.
PS It is breathing that organically creates the relationship between the inside and the outside.