By Jade Rosina McCutcheon
Awakening the appearing physique is an exemplary paintings of practice-based learn awarded in a pedagogical structure. this article is obviously laid out for any performing instructor who needs to pursue a extra non secular method of performing and perform the objective of reclaiming the sacred in theatre - or certainly for any appearing instructor who seeks a extra physique situated and imaginitive method of personality and actor-audience connections. This publication is a vital contribution to performing pedagogy. in keeping with ok. Brask, collage of Winnipeg, Canada the following eventually, is a deep, probing and absolutely attention-grabbing inquiry into the palpable but unseen forces at paintings and at play within the theatre. McCutcheon, flaming torch in hand, has entered the mysterious darkish cavern the place one is aware there's a magic alternate. AWAKENING is an awakening - to hyperlink brain, physique and spirit - to holistically mine performing schooling the place the entire individual is engaged, in order that magic we lengthy for and crave, turns into whatever it is easy to got down to appeal to into the sunshine - no longer whatever one hopes may perhaps look if we're fortunate. a rare paintings. - Dean Carey, creative Director/Founder, Actors Centre Australia
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Additional info for Awakening the Performing Body (Consciousness, Literature and the Arts, Volume 17)
63 Invisible presence is not a concept embraced in the West outside the established church. For performers to be acknowledging the invisible presence of 'god-like' forces in our theatre, some fairly large areas of actor training and rehearsal formulae need to be addressed. When considering the rituals that might be carried out by actors in our Western theatre before a performance, it is evident there are very few that involve the ‘sacred’ or ‘spiritual’. One might well ask at what point in history was Western theatre ‘connected’ to the force of its essence.
Powell’s book, The Etheric Double was a compilation from forty main works on the Etheric Body published between 1897 and 1921. 27 It should be noted that Chekhov was also a “strong believer in yoga and felt that there was something in the practice of yoga that would be of great use to the actor. 28 Although Chekhov used Eurhythmy in his actor training exercises and certainly embodied the philosophy of Anthroposophy in his work, he does not mention specific Steiner exercises in his books. Franc Chamberlain29 provides a very good insight to this quandary in his article Michael Chekhov: Pedagogy, Spirituality, and the Occult.
It is clear that these inner spaces of self are difficult to articulate. Each practitioner quoted is searching for a way in, to access the ‘hidden vaults’. They all knew that the depths of creativity lay within these places, past consciousness, deep within the self, and difficult to describe in words although the writing of feminist philosopher Hélène Cixous invites us towards these places, ‘It is deep in my body, further down, behind thought. Thought comes in front of it and it closes like a door.