Theatrical Bridge: The Art and Actor Training Method of Tadashi Suzuki From a Hungarian Perspective
Mots-clés :
pre-expressivityRésumé
It is hard to realize after the first impression that the philosophical and pedagogical work of Mr. Suzuki has common points with the Eastern-European theatrical culture. I would like to point out the differences and similarities between our, basically psychological ways of thinking in our theatres and Tadashi Suzuki’s theatre. I would like to bridge the gap between the two opposing ways of thinking and query that they are even contrary to each other. I will research the advantages of the Suzuki Method of Actor Training for the Eastern-European theatrical culture. I will examine the different theatrical way of thinking about the legs. I would like to research this topic based on the science of theatre anthropology and my personal artistic experience with Tadashi Suzuki along the following aspects: the pre-expressive level and the body, the importance of the legs, stillness and freedom.
Références
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DESCARTES, René, 1637. Discourse on the Method of Rightly Conducting the Reason, and Seeking Truth in the Sciences. [Accessed 4 Sept. 2017]. Retrieved from: http://www.logic.ifil.uz.zgora.pl/phil_101/reading/1.%20Descartes-Discourse%20on%20Method.pdf,
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SUZUKI, T., 1986. The Way of Acting. [English Translation: J. Thomas Rimer]. New York: Theatre Communication Group.
SUZUKI, T., 2012. The Suzuki Method of Actor Training. In: International Symposium on the SMAT. Toga Art Center: Private Edition, p. 128-137.
SUZUKI, T., 2015. Culture is the Body.[ English Translation: Kameron Steele]. New York: Theatre Communication Group.
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