Theatrical Bridge: The Art and Actor Training Method of Tadashi Suzuki From a Hungarian Perspective
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...
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
UArtPres
2020-08-01
|
| Series: | Symbolon |
| Subjects: | |
| Online Access: | http://uartpress.ro/journals/index.php/symbolon/article/view/111 |
| Summary: | 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. |
|---|---|
| ISSN: | 1582-327X 2344-4460 |