Making the Body All Eyes:
psycho-physical approaches to the performance of Ancien Hellenic Theater

INSTRUCTORS:
A laboratory-workshop led by
Phillip Zarrilli and Vasilios Arabos
with guest interventions by
Dimitris Lekkas (ancient poetics, phonology)
Musicians: TBA percussion, strings and wind.
COSTS:
First week only €580.
For both weeks:
€900.
Με Ελληνική Υπηκοότητα:
€400/660. €70 Εκπτοση για επιπρόσθετη συμμετοχή ανά εργαστήριο. Ειδική τιμή είναι πιθανή βασή βιογραφικού, δέσμευση συμμετοχής στο ερευνητικό πρόγραμμα 2012, και προσωπική συννέντευξη με τον καλλιτεχνικό διευθηντή.

DATES:
Week 1: Sept. 12th — Sept. 17th
Week 2: Sept 19th — Sept 25th

DURATION: 7h/day
42 hours total week 1 — 91 hours week 2, registration is open to all for first or both weeks.

Lodging accommodations are included in the workshop price for double occupancy, breakfast included. Single occupancy is also possible with a price adjustment.

DESCRIPTION
Phillip Zarilli’s psychophysical approach to acting traces its roots in the visions and principles developed by Stanislavsky, Artaud and Grotowski. Derived from a task-based physical point of departure, the aim of the training is to bring the practitioner to a state allowing contact with the ‘inner action’ of the role as vibration/resonance. This leads the actor to awaken and develop a body-mind connection and energy practices that culminate in the enactment of performance as a personal “metaphysics,” that places it “at the nerve ends.” This embodiment of images “through the skin,” as Phillip puts it, is accomplished through a specific conditioning of the performer. Key disciplines in pre-expressivity that contribute to this goal are the ancient Indian martial art of kalarippayattu and a storehouse of performance-oriented yoga and taiquiquan techniques whose formal goal is to “make the body all eyes” (meyyu kanakkuka, Malayalam folk expression).
This formal goal of the training, along with Philip’s definition of the inner action of performance as a special vibratory or resonant energy-state shows close ties to Imalis’ research and practice of ancient performance. The first week of Phillip’s Laboratory Workshop will be dedicated to the exploration of energy practices and embodied states of Ancient Theater generally, and will move in the second week towards the search for those that more specifically serve the chosen roles and texts. The first week of Phillip’s Laboratory Workshop will be dedicated to the exploration of energy practices, embodied states of being/doing, and ‘attuning’ one’s sensory awareness through form training. The basic elements and principles of Phillip’s work will begin to move toward work with Ancient Theater via a series of exercises known as ‘structured improvisations’ where the elements and principles of the form training are put into ‘play’.
The first week will also include a daily two-hour session taught by Vasilis Arabos and Dimitris Lekkas devoted to specific approaches for scene study, and will introduce the participants to the principles and methods of “reading” the phonetic and vocal scores of the chosen texts. Exercises in spatial awareness and vocal experimentation will be carried out liberally in the ancient theaters themselves. The aim of the first week is to bring its participants to a first experience of the role as a coherent embodiment of image, action, energy and sound, based on a preliminary understanding of key theoretical principles, practical approaches and concrete tools of ancient drama.
During the second week of work, Phillip’s basic training will be repeated and expanded in order for participants to develop a greater psychophysical awareness through the basic exercises. The embodiment and energy practices will have begun to prepare the ground for the participants to move on to the embodiment of the role itself in the second week, by the end of which each of us will have the opportunity to present a fully rehearsed demonstration piece. Training in the second week will also include full vocalization of the prosodic text which Phillip will continue to explore as inner action and resonance, as we attempt to approach the iconic dimension of sound and space out of which emanates the role proper as mask. Our final goal in the workshop will be to touch upon a state existing prior to the separation of the senses and their segregation, in which eyes, ears and tongue belong to a single inner action and outer expression, of the role as a singular focalized state.
The embodiment and energy practices of the first week will have prepared the ground for the participants to move on to the embodiment of the role itself in the second week, by the end of which each of us will have the opportunity to present a fully rehearsed demonstration piece. Training in the second week will include full vocalization of the prosodic text which Phillip will continue to explore as inner action and resonance, as we attempt to approach the iconic dimension of sound and space out of which emanates the role proper as mask. Our final goal in the workshop will be to touch upon a state existing prior to the separation of the senses and their segregation, in which eyes, ears and tongue belong to a single inner action and outer expression, of the role as a singular focalized state.