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ALESSANDRO FERSEN's PARASHAMANIC TRAINING TECHNIQUE for the OCCIDENTAL PERFORMER JOHN C GREEN a Thesis Submitted To University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 1993 Mnemodrama : Alessandro Fersen's parashamanic training technique for the occidental performer. Green, John C http://hdl.handle.net/10026.1/804 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. I -- MNEMODRAMA: ALESSANDRO FERSEN'S PARASHAMANIC TRAINING TECHNIQUE FOR THE OCCIDENTAL PERFORMER by JOHN C GREEN A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCrOR OF PHILOSOPHY Faculty of Arts & Design School of Humanities & Performance DECEMBER 1993 This copy of the thesis has been supplied on condition that anyone who consults'it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author's prior written consent. signed: i MNEMODRAMA: ALESSANDRO FERSEN'S PARASHAMANIC TRAINING TECHNIQUE FOR THE OCCIDENTAL PERFORMER by John Green This thesis.is the first full-length study of the experiments in performer training undertaken by Alessandro Fersen in his studio laboratory in Rome between 1957 and 1983 and practiced since then in the codified technique which he calls Mizemodrama ( literally, "a drama of memory"). The purpose of my research is twofold: firstly, to focus on the development of the core technique of mnemodrama which is a theatrical simulation of ritual object manipulation employed by shamans in traditional cultures in order to induce an altered state of consciousness. In Fersen's terms such transic techniques provide the contemporary performer with a psychic training which enables him to explore different aspects of his persona rediscovered from both the autobiographical and archetypal levels of his unconscious. Secondly, the thesis presents a case for viewing Alessandro Fersen as a pioneer of post-war experimental theatre practice, particularly from the standpoint of the interdisciplinary nature of his experiments (theatre combined with anthropology, ethnology and psychology) and his focus on training rather than performance within the confines of a laboratory. The philosophy behind his research, its goals and methodology are therefore compared with those of his more celebrated peers, Jerzy Grotowski, Peter Brook, Richard Schechner and Eugenio Barba. This thesis combines academic research with two periods of observation of the mnemodrama in performance at Fersen's studio in Rome in 1990 and 1992. Subsequently, I was able to introduce Fersen and his work to British academic theatre professionals for the first time at the international conference on Performance, Ritual and Shamanism organised by the Centre for Performance Research and held in Cardiff in January 1993. Finally, the appendices contain Fersen's essential justification for his research, from which the arguments of this thesis have been developed. The appendices also represent the first substantial translation of Fersen's writings on theatre to appear in the English language. ii CONTENTS Chapter Page Introduction I 1. Alessandro Fersen's Mythopoeic Journey 26 2. Fersen's Journey from Stanislavski to Mnemodrama 52 3. Mnemodramas 83 4. The Ritual Play of Mnemodrama -120 5. Mnemodrama as a Parashamanic Technique 155 6. Mnemodrama, Therapy and Montage 189 Appendix 1.226 The Mnemodrama - Studio Fersen, Course Brochure. Appendix 2.232 Of the Ego and the Non-Ego in the Theatre Appendix 1.241 Mnemodrama and Subaltern Cultures Appendix 4.250 Lady Macbeth's Mnemodrama Bibliography 252 iii I ACKNOWLEDGEMENT I am grateful to Bonnie Marranca, co-editor of the Performing Arts journal for putting me in contact with Alessandro Fersen. I would like to thank Dr. David Ward and Peter Hulton at Dartington College of Arts for their initial enthusiasm in getting the research off the ground and to Dr. Max Paddison from the same institution who smoothed the transition of this research from Dartington to Plymouth, and whose continued support as my second supervisor has proved to be invaluable to me. I owe thanks to Lorenza Vendittelli for her great skill and patience in helping me to translate Fersen's writings and to Dr. Firenza Guidi for proof-reading the translations and providing an Italian Fersen's To Michael Barham President perspective on work. , of the British Association of Psychodrama, I am indebted for his enlightening comments on Chapters three and five and, to the performance artist Wes Warlop for introducing me to the works of Joseph Beuys and Antero Alli. Thanks also to Richard Gough and the staff at the Centre for Performance Researchin Cardiff for their help in providing a critical forum for the study of Fersen's work. I acknowledge the help and support of my colleagues in the Department of Communication at Pittsburg State University, particularly Dr. Cary Clasz for her critical overview of the early stages of the research, and the invaluable help provided by the staff of the Inter-library loan system at that institution. Dr. Osita Okagbue proved to be a model supervisor and I am deeply grateful to him for keeping me on track and helping me hone my argument. I would like to thank my wife Tess for her proof reading skills and her continual support and encouragement. Finally I am truly indebted to Alessandro Fersen for exposing his work to critical analysis and giving me so much accessto his performers, his writings and himself. Without his cooperation this thesis could not have been written. iv AUTHOR'S DECLARATION, , At no time during the registration for the degree of Doctor of . Philosophy has the author been registered for any other university award. This study was self-financed apart from travel bursaries received from the Department of Continuing Studies and the Faculty Development Committee at Pittsburg State University, Kansas, for trips to Rome, London, Cardiff and the Exmouth campus of the University of Plymouth. An early draft of Chapter One of this thesis was presented in the form of a paper to the international conference on "Performance, Ritual and Shamanism," held at the Centre for Performance Research in Cardiff in January, 1993. Signed . ........... Date ....... ...... .. 41 V INTRODUCrTON Thý shaman is a nostalgic philosopher who, through a ritual identification of that which he remembers, hopes to provoke a vision of fundamental essences. His primary function is to heal mankind's fragmentary experience of existence in the cosmos through ritual performances which restore, however fleetingly, the original generative moment of mythic consciousness - the Mud tempus - the time of origins, the period of Creation, when gods walked the earth, mortals visited the sky and the great archetypal events of myth took place. The shaman is a connector who bridges the mythic past, the primordial past and historical time. At the same time he masters psychological transitions, passing from normality to alternative states of consciousness and back, bringing the dark world of the unconscious to the light of consciousness. As a performer he must therefore be uniquely adept at psychological control for his profession requires continual, intense and'voluntary attainment of abnormal psychological states, particularly the entering of trances and the obtaining of vision. The principle of shamanism is that the shaman undertakes a journey to another sphere of existence in order to heal an individual or tribal malady. This ritual journey - magical flight - is undertaken in a state of trance during which the shaman encounters (consults or battles with) the spirits which form the mythic foundation of the tribal structure. The shaman travels to the edge of the social order each time he undertakes these journeys. According to anthropologist Barbara 1 Meyerhoff, l he enters the realm of "non-form" which she defines as "the underlying chaos of the unconceptualized domain which has not yet been made part of the cosmos by the cultural activity of naming and defining! With each crossing over the shaman gains power, a therapeutic status which Meyerhoff believes is the reward for all persons who travel to the edges of order. Embracing the concepts of Victor Tumer, -Meyerhoff views shamans as liminal individuals, ' forever "betwixt and between" at the thresholds of form. The shaman, in Meyerhoff's interpretation, therefore stands at the juncture of opposing forces - the coincidentia oppositorium - and his dialectical task is continually to move between these opposites without resolving them. It is not a balance achieved by synthesis, nor a. static condition achieved by resolving oppositions. It is not a compromise. Rather it is a state of acute tension, the kind of tension which, Meyerhoff indicates, exists when -two unqualified forces encounter each other, meeting headlong and are not reconciled but 'held teetering on the verge of chaos, not in reason but in experience! It is a position, she suggests, with which the Occidental viewpoint, schooled in the Aristotelian tradition, is extremely uncomfortable. This is an assertion borne out in the experience of Alessandro Fersen who, for the past thirty-five years, has been exploring his own theatricalised version
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