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Spirituality in actor training forsythe theatre research in canada recherches the a trales au canada

Spirituality in Actor Training Forsythe Theatre Research in https journals lib unb ca index php TRIC article view of HOME ABOUT LOGIN SEARCH CURRENT ARCHIVES Home Volume Number Spring Forsythe LANGUAGE Select Language English Submit SPIRITUALITY IN ACTOR TRAINING JAMES FORSYTHE Elements of the spiritual practices of other cultures speci n cally Taoism and Zen Buddhism are employed in 'Western' conservatory acting schools This article will examine the context of the relationship between spirituality and actor training using examples from the techniques of speci n c teachers working in the n eld Certains éléments des pratiques spirituelles issues d'autres cultures particulièrement le Tao? sme et le Boudhisme Zen sont utilisés dans les Conservatoires de thé? tre occidentaux ? Cet article étudie le contexte des rapports entre la spiritualité et la formation d'acteur en s'appuyant sur l'exemple des approches de quelques professeurs qui travaillent dans ce domaine The creative process of living and experiencing a part is an organic one founded on the physical and spiritual laws governing the nature of man Stanislavski Konstantin Stanislavski was a strong proponent of combining the intellectual or known and the spiritual or unknown In his advice to actors he wrote So an actor turns to his spiritual and physical creative instrument His mind will and feelings combine to mobilize all his inner elements out of this fusion of elements arises an important inner state the inner creative mood Stanislavski In the introduction to his book Free Play Stephen Nachmanovitch describes access to an inner life as that quality of connectedness and wholeness which we also recognize in a n ne pianist painter or poet Nachmanovitch What is this quality of connectedness and wholeness If it refers to a spiritual concept is there a connection between the spiritual teachings of other cultures and the training of actors In this article I will pursue this question employing interviews with a dozen of the leading teachers in Canada and Britain and through an examination of the literature in both n elds My research leads me to believe that there is a direct link that spiritual elements form a strong foundation in the training of actors in ways so prevalent as to be common place In these times of increasing demands for accountability I believe we need to appropriate the spirituality of other cultures to inform our acting training It allows us to get back to the basics in order to connect with the basic humanity of our lives In my twenty- n ve years as a conservatory theatre student professional actor and university teacher I have perceived a common search being undertaken by my peers and myself What is it that brings creativity and inspiration From the beginning of my actor training I also became aware that some of the techniques taught in the studio to explain these essentially unexplainable questions had FONT SIZE JOURNAL HELP ContextSensitive Help QuickReference Guide pdf Documentation SFU Support Forum SFU ARTICLE TOOLS Abstract Print this article Indexing metadata How to cite