I was invited to Shanghai by Qian Peng Li, Director of Vertebrae Theatre (Shanghai), to conduct an intensive workshop in my pre-performative approach to actor training between August 14-26, 2017. The workshop was conducted at one of the studios at the Shanghai Theatre Academy. In addition to teaching acting at the Academy, Qian Peng is focused on introducing alternative modes of actor training to both professional actors and students of acting in the PRC.
Assisted during the two weeks by long-term collaborators Sunhee Kim (Theatre P'Yut: Seoul, Korea), and Bernadette Cronin and Regina Crowley (Gaitkrash: Cork, Ireland), I led a group of fourteen actors through my approach to the pre-performative/psychophysical training of actors using Asian martial arts and yoga, and then we applied the principles of the training process to both a series of structured improvisations, as well as some of Samuel Beckett's later/shorter plays.
Shanghai workshop participants Jingwen (centre) and Shao Yipei (centre behind) going through the kalari vanakkam as part of the preliminary/preperformative training.
The group of fourteen worked tirelessly during the six hour a day process for the full two weeks. Our work together culminated in a three hour work demonstration with a packed studio of about 45 observers. We shared the process of training, the application of the work to structured improvisations, and each of the participants' progress on working with Beckett's later/shorter plays.
Thanks to Qian Peng, May, Annie (translator), and all of the participants for a terrific two weeks of very productive and focused work!!!
At work with Jinwen on principles of the training including emphasising sensory awareness of the palms while carrying a 'heavy load'--preliminary work on this specific structured improvisation.
Three participants work on May's 'walk' and sensory awareness in the palms/fingers in Beckett's FOOTFALLS. Their focus is ahead along the path where the 'feet fall', 'indirect', and slightly down emphasizing a looking back within oneself and an opening of one's back awareness.
Detailed work via translator (Annie) on the Mandarin translation of Beckett's OHIO IMPROMPTU. We worked specifically on the tempo-rhythm of each text with specific reference to Beckett's punctuation in the original English text, ensuring that the Mandarin translation captured as best it could something of the 'movement' of the original text.
Working with Yi Song on OHIO IMPROMPTU, and inviting his imaginative engagement with specific images in the text.
Bernie Cronin and Yi Song carrying the weight of 'a heavy load' in one of our structured improvisations.
At work on one of Beckett's texts in the Shanghai studio.