| Popis: |
The purpose of this thesis is to explore the principles of selected Korean training sources for contemporary psychophysical performer training towards the development of a performer’s ‘receptive’ body. Those training sources are including Ocheubub, a martial art Taekkyun, and Bongsan Masked Dance training. More specifically this thesis explores the following questions: What is the meaning of a performer’s ‘receptive’ body as understood through an exploration of selected Korean source traditions (Ocheubub, a martial art Taekkyun, and Bongsan Masked Dance training)? How can the practices and principles of the training sources be understood and transmitted from ‘traditional’ to ‘contemporary’ theatre practice in Korea? How has the notion of a performer’s ‘receptivity’ been understood or used by key theatre practitioners including Grotowski, Barba, Suzuki, Lee, Oida, and Zeami in their training? The practical investigation was carried out as a series of three projects which focused on the performer’s ‘being in the moment on stage’ as a point of departure to work as a performer. The principles of the training sources have been used to facilitate the performer’s internal readiness or preparation centering on being from the invisible (Sang, portent or sign) to the visible (Hyoung, a form or style) in working with improvisation and generating material for performance. In adapting the original source training, this thesis has developed a set of devised exercises and practices which examine and develop those underlying key principles as a framework for training, improvisation, and performance. |
