Healing Through Martial Arts: Reconstruction of Bodymind in Actor Training

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 [email protected] 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 Angampora recovery and bodymind wellbeing when an actor breaks his/her instrument the means to actor training methodologies. replacement is not feasible. The question of Background and Literature Review this research is how to preserve actors’ physical and mental wellbeing in order to prevent their instruments’ collapse. Surprisingly, an answer to this question might be found through exploration and In the foregoing, it was argued that existing incorporation of elements and philosophy of actor training systems have not adequately martialMethodology arts to actor training systems. addressed the bodymind healing practices. Nevertheless, the presence of some therapeutic practices can already be observed in actor training methodologies. For example, the basic body scan exercise, which is the same exercise The research started with analysing literary that is common in psychotherapy sessions, is texts, both in print media and on the internet, widely used during actor trainings. Such an in order to understand the main principle in exercise has a beneficial effect on the mental bodymind recovery practices and the need of and physical state of the actor. In its incorporation to actor training psychotherapy the benefits of the exercise are methodologies. After gathering data from described as “by scanning through the whole literary texts, the research moved to the next body, the client becomes aware of the areas phase of information collection which was that experience pain or discomfort - usually directly linked to the Accelerating Higher parts where energy blockage or constriction Education Expansion and Development occurs. Clients are also asked to attend to areas (AHEAD) project. Traditional martial arts of comfort and wellness for a while in order to training (Angampora) was examined as one of gain access to the innate energy of self healing” potential sources of development of bodymind (Leung, Chan, Lee 2009: 4). The same can be awareness and recovery practices into actor said about the breathing techniques and breath training methodologies. Specially, the research meditation which are present in both acting investigated the practices of Angampora and psychotherapy practices. However, the Traditional Sri Lanka Martial Art group led by problem in actor training is that such Grand Guru Kakabushana G. Karunapala. The therapeutic and healing methods are usually particular group was chosen for the research introduced as techniques, and not as a part of purposes as they are trained in old traditions of acting philosophy. These exercises do not aim Angampora training which means that all consciously to focus on wellbeing, and as a bodymind awareness elements are preserved. result there is no intentionality. “Broadly Also, Guru Karunapala is considered as the only defined, intentionality involves the projection Angampora master in Sri Lanka whose of awareness, with purpose and efficacy” Angampora style comes from the Alexander (Schiltz 1995: 120). As a result, these era. This phase of the research was carried out therapeutic and healing practices in actor through practical training with an Angampora training methodologies are not conscious ones group by visiting their training session on a and do not provide a proper effect, and they weekly basis. Thus, data were gathered also neglect their major beneficial outcome. through experiential practice, observations, The elements of healing implementations are semi-structured interviews and documentation perceived by actors as technical exercises and of traditional Anganpora martial arts training. the healing aspect of such practices is blurred. 23 th 13 International Research Conference General Sir John Kotelawala Defence University Medicine Sessions That is to say, that a conscious and intentional Further, it has been proven that actor training approach to such exercises could elevate methodology neglects the cool down part of the bodymind wellbeing and the recovery training which is an essential element for awareness in acting practices. maintaining actors’ physical and mental wellbeing. Mark Seton presented a research If we look at Asian actor training practices, based on Australian Actor’s Wellbeing Survey bodymind awareness is stronger in these than which shows the following. “Actors approach in Western practices. Furthermore, Philipp warming up with rigour and focus, carefully Zarilli’s statement shows us that bodymind managing the movement into role, preparing treatment and its proper evaluation and their bodies and voices, and taking time to understanding are presented in Asian actor focus their energies, either to relax or to raise training methodologies. their levels of activation. In contrast, the “To understand acting in India, one would need process of moving out of performance is to understand vibratory theories of sound characterized by a diversity of predominantly which provide insight into the psychophysical informal processes, in which the transition is aspects of voicing and its metaphysical rarely dealt with as a book-ending cool-down implication; yoga physiology/philosophy which counterpoint to warming-up but more provide a detailed understanding of what frequently as an extended process of winding happens to both physical and “subtle” bodies down”(Seton 2019:15). It might be said that when practicing exercise; and Ayurveda such pattern of actor behavior can be observed (literally, the “science of life”), the indigenous globally and causes harm for actor’s sound system of medicine which provides a humoral state. Another aspect that Seton’s research understanding of the body, physiology, and brough up is that actors prefer to use alcohol

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