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The Techniques of Gesture Language 25 – a Theory of Practice Maya Tångeberg-Grischin Acta Scenica

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The Techniques of Gesture Language 25 – a Theory of Practice Maya Tångeberg-Grischin Acta Scenica The Techniques of Gesture Language 25 – a Theory of Practice Maya Tångeberg-Grischin acta scenica The Techniques of Gesture Language Maya Tångeberg-Grischin The Techniques of Gesture Language – a Theory of Practice Doctoral dissertation Performing Arts Research Centre/Department of Acting in Swedish Publisher The Theatre Academy Helsinki © Teatterikorkeakoulu and Maya Tångeberg-Grischin Cover Layout Atte Tuulenkylä Cover Drawing Riina Ahonen Graphic design Hahmo Design Oy www.hahmo.fi Layout Atte Tuulenkylä Printed by Edita Prima Ltd, Helsinki, 2011 Paper Edixion 300 g / m2 & 120 g / m2 Font family Filosofia. © Zuzana Licko. Acta Scenica 25 ISBN (paperback): 978-952-9765-65-2 ISBN (pdf): 978-952-9765-66-9 ISSN: 1238-5913 ACKNOWLEDGMENTS My foremost thanks go to Usha Nangyar, Kalāmaṇḍalaṃ V. P. K. Hariharan, Athira Nangyar and the late D. Sarasvati, who opened me their house for long stays; and also to Villasini, who makes my stays in Kerala always so pleasant. Grateful memories and thanks to the late Krishnan Namboothiri and Pro- fessor G. Sankara Pillai from the School of Drama at Calicut University, who both introduced me to Indian culture, theatre and dance. Respect and warm thanks to my Indian gurus Padmasrī Kalāmaṇḍalaṃ Kse- mavati, Kalāmaṇḍalaṃ Husnabanu and Sadanam Narayana Namboothiri for their patience, but also to Raju Narippatta and the Kizhe Narippatta family, Nirmala Panicker and G. Venu “Venuji”, Aparna Nangiar, Sooraj Nambiar, K.M. Rajeni, Dr. Edamana Krishna Suddha, Dr. P.M. Kalānilayan Damod- haran, and professor K.P. Sridevi from the Śrī Śankarācārya University of Sanskrit. I am most grateful to my supervisors, Dr. Pentti Paavolainen, Dr. Jukka O. Miettinen and to Professor Esa Kirkkopelto who advised, encouraged and inspired me in different stages of the doctoral process. Swedish Department of Acting at Theatre Academy, especially Ms. Harriet Sevelius and profes- sors Erik Söderblom and Dick Idman, has also been very supportive for my work. Ms. Annika Fredriksson, research coordinator at the Performing Arts Research Centre and Laura Manninen has offered most valuable help in fi- nalising my thesis. Very special thanks go to Dr. K.G. Paulose and Dr. Phillipp Zarilli, examina- tors of the artistic productions connected to the thesis and to Dr. Zarrilli and Dr. Ariane Martinez who gave me most interesting and precious comments as pre-examinators of the written part of my doctoral work. I also wish to thank Dr. Margaret Coldiron, my opponent at the public defense of my thesis. Warmest thanks are extended also to Riina Ahonen, Jennifer Chonghaile- Åbacka, Elisabeth Nedergård, Albert Pinilla-Coria, Veli Rosenberg, Dr. Anna Thuring, Leenamarja Thuring and Andreas Westerberg, as well as to my former students Nora Azémar, Elias Edström, Jenny Eliasson, Tuuli Heinonen, Julia Ioannides, Julia Johansson, Charlott Lihnell, Timothy Pilotti-Johansson, Se- bastian Selenius, Kristian Snellman, Karoliina Surma-aho and Steina Öhman. The research was financially supported by the Swedish Department of Act- ing at Theatre Academy, Svenska Kulturfonden Österbotten, and the Academy of Finland. ABSTRACT This thesis presents the findings of its author’s artistic research on non- encoded, widely understandable gesture language techniques. It is based on practical experience and of the empirical skills of the field. An analysis is made of the techniques of hand gesture (which includes fa- cial expression and body movement as integral parts) found in the European pantomime of the 19th century and in the Indian abhinaya of kūṭiyāṭṭaṃ and naṅṅyārkūttu˘. At first, the fragments of European pantomime techniques are compiled and selected examples are presented, described and compared with their Indian counterpart. The techniques which the two disciplines seem to share are scrutinized. Gesture is seen as the abbreviation of physical action. The starting point is visual perception, which is the very foundation for all comprehension of gesture. Gesture is not perceived as a whole, but as a cluster of partial units of spatial-temporal character. It is therefore broken down into its smallest components containing information, here called argumemes. By the con- scious use of these argumemes, gesture can be stylized and amplified in order to facilitate effective communication. Gesture language and facial expression are analyzed in the light of the re- sults of contemporary neuro-science and neuro-aesthetics. Additionally, the acting modules of facial expression (as established in the Nāṭyaśāstra and developed in kūṭiyāṭṭaṃ) are analyzed and the affinities between the bhāva- rasa method of producing theatrical emotion and some specific results of neuro-scientific research on emotion are presented. A concise method to connect external and internal acting is established. It challenges contemporary acting techniques with an alternative, physio- cognitive approach. A possible grammar and syntax for a non-encoded but creative, widely understandable gesture language is proposed. Finally, the research results are summed up in the foundation of a theory of practice. ABSTRAKT Denna doktorsavhandling presenterar författarens resultat av konstnärlig forskning om okodade, förståeliga gestiktekniker. De bygger på författarens praktiska erfarenheter samt forskning i ämnet. Handgesternas teknik, som innefattar både ansiktsuttryck och kropps- rörelse, så som den förekommer i europeisk 1800-tals pantomim och i den indiska abhinaya ur kūṭiyāṭṭaṃ och naṅṅyārkūttu˘ analyseras. Pantomimteknikens fragment samlas in och valda exempel beskrivs och jämförs med sina indiska motsvarigheter. De tekniker som båda stilarna har gemensamt undersöks. Handgester betraktas som förkortningar av fysiska handlingar. Utgångs- punkten är visuell varseblivning, som är grunden till förståelse av gesters betydelse. En handrörelse ses inte som en helhet, utan som en samling del- moment av spatial-temporal karaktär. Därför bryts gesten ned i möjligast små delar som innehåller information, här kallade argumemer. Genom medveten användning av argumemer kan gester stiliseras och förstoras för att under- lätta den sceniska kommunikationen. Gesternas språk och ansiktsuttryck undersöks i ljuset av nutida neurobio- logi och neuroestetik. Ansiktsuttryckens moduler, så som de är etablerade i Nāṭyaśāstra-n och utvecklade i kūṭiyāṭṭaṃ, analyseras och likheter mellan bhāva-rasa, dvs. metoden för hur skådespelaren producerar känslor, och några specifika resultat av neurobiologisk forskning i ämnet ifråga disku- teras. En kort och koncis metod om hur yttre och inre skådespeleri kan förenas presenteras. Den utmanar nutida skådespelartekniker med ett alternativt, fysio-kognitivt synsätt. En möjlig grammatik och syntax för ett okodat men kreativt, förståeligt kroppsspråk presenteras. Slutligen summeras forsk- ningsresultaten som basis för en teori i praktiken. TIIVISTELMÄ Tutkielma on taiteellisen tohtorintutkimuksen kirjallinen osa ja siinä kä- sitellään ei-koodattuja (toisin kuin esim. viittomakieli), mutta kuitenkin laajalti ymmärrettyjä, sanattoman teatterin elekielen tekniikoita. Tutkielma pohjautuu kirjoittajan taiteelliseen kokemukseen, empiiriseen kenttätyöhön sekä tutkimuksen osana tehtyihin taiteellisiin produktioihin. Tutkielma keskittyy käsieleiden tekniikkaan 1800-luvun eurooppalaisessa pantomiimissa ja Intian kūṭiyāṭṭaṃ ja naṅṅyārkūttu˘-perinteiden abhinaya- näyttelijäntekniikassa. Tutkimus kattaa käsieleiden lisäksi myös käsielei- siin liittyvät kasvoilmaisun ja kehonliikkeet. Tutkielman alussa esitellään ja kootaan yhteen eurooppalaisesta pantomiimista säilynyt fragmentaarinen tieto ja sitä verrataan Intian säilyneeseen elekielen perinteeseen. Tarkaste- lun kohteena ovat erityisesti ne yhteiset piirteet, jotka molemmat traditiot tuntuvat jakavan. Ele tulkitaan fyysisen toiminnan tihentymäksi. Lähtökohtana on nä- köhavaintoon perustava informaation vastaanottaminen, johon elekielen ymmärtäminen perimmiltään pohjautuu. Elettä ei vastaanoteta tai lueta ko- konaisuutena, vaan tilallis-ajallisten osaelementtiensä ryppäänä. Siksi ele puretaan pienempiin informaatiota sisältäviin komponentteihinsa, joita tässä tutkielmassa kutsutaan termillä argumemes. Näitä argumemes-kom- ponentteja tietoisesti hyödyntäen ele voidaan tyylitellä ja tehostaa kommu- nikatiivisemmaksi. Elekieltä ja kasvoilmaisua analysoidaan uusimman neurobiologinen tutki- muksen ja neuroestetiikan tutkimusten valossa. Tämän lisäksi analysoidaan kasvoilmaisun osaelementit siten kuin ne on esitetty Nāṭyaśāstra ”ohjekir- jassa” ja edelleen kehitelty kūṭiyāṭṭaṃ -traditiossa. Tutkielmassa valotetaan myös intialaisen teatteriteorian tunnetilan manifestoinnin, ns. bhāva-rasa- metodin, ja neurobiologisen tutkimuksen tulosten samankaltaisuuksia. Tutkielma hahmottelee metodin, jolla "ulkoinen" ja "sisäinen" näyttelemi- nen voidaan kytkeä toisiinsa, tarjoten näin fyysis-kognitiivisesti painottuvan vaihtoehdon länsimaisille näyttelijäntekniikoille. Tutkielma esittelee myös luovan, laajalti ymmärrettävissä olevan elekielen "kieliopin" ja "syntaksin". Lopuksi tutkimuslöydökset tiivistetään sanattoman teatterin elekielen teoreettiseksi, mutta selkeästi käytännöstä kumpuavaksi malliehdotukseksi. List of tables, graphs, drawings and illustrations TABLES There are many lists in the form of tables in this study. They are not men- tioned here. GRAPHS Page 121: Graphs of Palm Positions by Albert Pinillia-Coria and MTG. Page 185: Graph of The Triadic Relation Between Hand, Eyes and Mind by MTG. Page 187: Graph of The Connection Between Image, Emotion,
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