When I started training for Re-play in London, I worked with a movement practitioner called Emma Grace. Before this, I was not really paying attention to the way I moved, but focussed on moving. Infact, most of my performances have been movement heavy, but I have never paid great attention to movement as a specific way of working. However, this time, I was keen on incorporating this within my practice.
I started work in the studio with Emma Grace. Emma's first instruction to me was to try and move my hands engaging my core. I spent a good while trying to engage my core and come to terms with its existence. I was glad I managed it and when I used my core to move my hands, I discovered a sense of buoyant movement. My hands were moving in an almost effortless fashion. I dint feel like my shoulder muscles or my biceps were doing any work. It was all coming from my core. It was just the first 5 minutes into the session and I had realised the power of movement based training for performance. Right from the way I breathed, to the way I moved in the space changed over the course of my movement based training with Emma. I am ever thankful to her for those wonderful one on one training sessions.
Then it occurred to me that it was important for performers who were going to work in Re-play to also go through this kind of an experience. So I immediately began looking to bring down movement trainers from London to India and also looked up movement trainers in India. That's when I came across Anitha Santhanam and her work in this space. I immediately wrote to her and what a co incidence, she was in London. We met up that very weekend and plans were made to host a workshop in physical theatre in Chennai in July. I was excited.
A weekend workshop
Plans were made and we were set. 10 theatre practitioners in the city were invited to be part of the workshop.
One of the first things the participants were made to experience was to be present in the space. Applying soft focus, what does it mean to be in a space with your body. Is there a way that we can create a sense of awareness for ourselves through our bodies.
Where does bodily movement originate from ? How can we, as performers get into a state of awareness where we are conscious of our various movements. Using this how can we create distinct character based movements that make a character unique and distinct. Anitha also introduced the participants to the concept of 7 levels of tension, based on the learning methodologies of Jacques Lecoq. This enabled participants to understand different body states and how each of them could distinctly communicate certain traits. The amount of effort one needs to put into each of these states were also realised by the participants.
The next day, the participants were introduced the concept of elasticity in movement. This enabled a heightened sense of awareness to the way they were moving as well as in being able to exert a push and pull using their bodies. The body also learn to react and embody an imaginary force and create an illusion for the audience. We then extended this into an interactive embodiment with fellow practitioners where different tensions in the body communicated with one another. This way we were talking to each other through our bodies. We also added another layer of voice that created an aural experience to the visual embodiment.
My engagement with theatre practitioner Vasudev Menon was in exploring the concept of push and pull at various levels. While Dev exercised his elasticity on a vertical plane, I played it on a horizontal plane. This also introduced the idea of depth and dimension through the body. We also used some minimal sounds to foster an exchange between two bodies that were at varying physical proximities.
We then moved to embodying textures and movement of objects. What does it take to create an illusion of a flying plastic bag or a swaying curtain ? What state must the body be in and what are those details one should focus on to bring those objects alive. We then also discussed possible areas of play with such boy movements and how that can be fit into an overall performance scheme.
At the end of the day, there was joy, learning and some pain. With our muscles being flexed in new ways, we had something to complain about and sleep a bit more the next morning. Thanks to Anitha for her time and thought.
A couple of lines from the participants who attended the workshop:
I thoroughly enjoyed it. Every single moment of it, dying though I was, of pain. The one thing that made a lot of sense is the neutrality aspect that Anitha touched upon. I think I will keep it with me and consciously apply it too. - Vaishnavi Sundararajan
I sometimes don't feel actors are comfortable enough in their bodies to be comfortable in an entirely created space. It certainly initiated a different kind of awareness for me, which I hope will translate into better acting - Susan Abraham
In this blog space, we talk about performance processes, interdisciplinary practices and various ways of creating performance and engaging audiences.