th 13 International Research Conference Paper ID 236 General Sir John Kotelawala Defence University Medicine Sessions Healing Through Martial Arts: Reconstruction of Bodymind in Actor Training
University of VisualLyudmyla and Performing Honcharova Arts, Colombo
Abstract: Key words
The bodymind work is a vulnerable : acting training methodologies, subject with relevance to actor training martial arts, healing practices, Angampora, methodologies. Especially, if the body is bodymindIntroduction perceived as an actor’s main instrument, which is a common viewpoint in major actor training practices. Although the importance of a sound Actor training methodologies aim to develop state of bodymind for acting is emphasized, the actor’s boymind state. In other words, they studies of the bodymind treatment and prepare actor’s instrument for performance. recovery are rarely incorporated in actor The term “body” as an actor’s instrument is training. This research attempts to find ways to widely used in actor training practices since the preserve actors’ physical and mental wellbeing body is considered the main mean of stage in order to prevent collapses of their expression. “All performance work begins and instrument – the body. Tadashi Suzuki and ends in the body. When I talk of spirit or mind Phillip Zarrilli have extensively discussed the or feeling or psyche, I mean dimension of the bodymind equilibrium by incorporating strong body. The body is an organism of endless corporeal art practices into actor training. In adaptability. A knee can think, a finger can pursuing their leads, the solution to the laugh, a belly cry, a brain walk, a buttock listen” research problem might be found in Martial (Schechner cited in Zarrilli 2002: 14). Although Arts practices. Sri Lankan Martial Art the importance of a sound bodymind state for Angampora was examined as a potential source actors is evident, studies in treatment and of development of bodymind awareness and recovery of bodymind are not broadly recovery practices in actor training. The data incorporated in actor training methodologies. collection was done through observation and Though most actor training methodologies interviewing Agam Maduwa group since they target preparing the bodymind for the are trained in old traditions of Angampora performance, post-performance bodymind whereby bodymind awareness elements are rehabilitation is excluded in major actor preserved. At the current stage of ongoing training systems. This is the main cause of an research, it has been proven that Angampora actor’s depression and professional philosophy incoporates sustainable means of procrastination. Acting could be physically and bodymind wellbeing and recovery practices. In mentally harmful for actors. Neglecting addition, it was observed that practicing bodymind healing and recovery aspects in Angampora benefits mental and physical actor training methodologies leads to stability which results in decreasing the level of destabilization of the actor’s bodymind health stress and depression. Therefore, Angampora is which is not acceptable in professionalism in an exemplary Martial Art form that could serve acting. “Performing has no relation to imitation, as a role model for incorporation of wellbeing for the theatrical matter is the performer’s philosophy and recovery methods into actor struggle with his or her own physical and training in order to prevent physical and mental being” (Allain 1998: 79). To put in mental injuries for actors. another way, if a violinist breaks his/her
22 th 13 International Research Conference General Sir John Kotelawala Defence University Medicine Sessions instrument it could be substituted with another In addition, Angampora training sessions were violin. On the contrary, documented through visual means, which were selected and analyzed in order to project