By Jade Rosina McCutcheon

Awakening the acting physique is an exemplary paintings of practice-based study awarded in a pedagogical layout. this article is obviously laid out for any appearing instructor who needs to pursue a extra non secular method of appearing and perform the objective of reclaiming the sacred in theatre - or certainly for any appearing instructor who seeks a extra physique founded and imaginitive method of personality and actor-audience connections. This publication is an important contribution to performing pedagogy. in line with ok. Brask, collage of Winnipeg, Canada right here eventually, is a deep, probing and completely interesting 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 familiar with there's a magic alternate. AWAKENING is an awakening - to hyperlink brain, physique and spirit - to holistically mine appearing schooling the place the entire individual is engaged, in order that magic we lengthy for and crave, turns into whatever you'll be able to got down to attract 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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Extra info for Awakening the Performing Body (Consciousness, Literature and the Arts, Volume 17)

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7 The idea of a grounding cord is to establish a root connection with the earth before opening up the energetic Centres of the body. This not only assures you won’t become disoriented, dizzy or a little ‘spacey’, but also engages the body energy system with that of the earth. Grounding Cord Exercise This exercise will connect your body energies to the centre of the earth. 7 • It is preferable to begin in a standing position, although some participants find it helpful to sit during the grounding cord and BEC breathing exercises in a chair or on the floor.

Immediately before going on stage, most performers engage in some ritual. 64 Although Eastern, Western and indigenous performers all engage in some aspect of ritual, it appears the Western actor rarely acknowledges the presence of a ‘god,’ or higher self when acting out the ritual. There are many ways to define ritual and one was that of Malidoma in the earlier quote. For a broader understanding of ritual in the 63 64 Malidoma 1993: 127. Schechner 1989: 105. Setting the Stage 33 performative sense, it is interesting to compare Richard Schechner’s five different viewpoints on ritual stated in his introduction to Victor Turner’s book The Anthropology of Performance with Turner’s definitions on the subject.

64 Although Eastern, Western and indigenous performers all engage in some aspect of ritual, it appears the Western actor rarely acknowledges the presence of a ‘god,’ or higher self when acting out the ritual. There are many ways to define ritual and one was that of Malidoma in the earlier quote. For a broader understanding of ritual in the 63 64 Malidoma 1993: 127. Schechner 1989: 105. Setting the Stage 33 performative sense, it is interesting to compare Richard Schechner’s five different viewpoints on ritual stated in his introduction to Victor Turner’s book The Anthropology of Performance with Turner’s definitions on the subject.

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Awakening the Performing Body (Consciousness, Literature and by Jade Rosina McCutcheon
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