updated30 january 2021
Cultivating the expression of the three worlds: thought, emotion, body.
OPINION:
In Bali, actors behave as servants. They serve a story that is to be told. The story should be more important, more interesting, superior to them; the story already has a life, a spirit. The story (it’s better) contains knowledge, wisdom, and path of nature ( laws of nature) to follow. In order to reveal this life/spirit, the actors must mobilise all their resources. The work is to awaken, to cultivate and to unite the expression of the three worlds (body, emotion, and thought), in order to achieve a total expression through profound and global approach.
The field of exploration in the workshop (3 worlds) includes: 21 "lessons" here,
but the latest up dated Tribuana way collected 25 fields to explore, klick here please.
( May be not all will be executed ).
1. Penchak Silat (Indonesian martial art = the art of survival); Dressed in white pants and white T-shirt.
2. Tai Chi (movements leading to consciousness of physical articulation and “energy = Chi”);
3. Chi Kung (physical and mental exercises leading to awareness of very fine and subtle energy that animates us);
4. Drumming inspired by KODO (Japanese Drumming), exercise of rhythm, endurance and force; voices of the three worlds; ; (the instrument ”KO DO” need to be built.)
5. Yoga: static posture (before action), sensitivity to feel the inner impulsion that leads an actor into action and realisation;
6. Pranayama, breathing exercises, in and out of the energy (perceiving and expelling different kind of energy);
7. Some Taoist-health-exercises (using image, movement, emotions, sound, and mental activities);
8. Stick work. Actors manipulate and play with the stick, repeating some fixed proposed movements. Stick exercise is inspired by martial art for warming-up, group-exercises, and awakening the sensation “to be ready to follow” (as the actor follows and give life to a character/story). This work called: TONGKAT.
9. Work on masques. Sculpturing another’s body.
10. Work with musical instrument/percussion.
11. Work with objects, materials, props as instrument of : story telling or expression.
12. Improvisation..
13. Working in the group and on the group. Group games, discussions (how to share opinion in a circle). Offering towards the center (the essence) of the common-interest is to give life to the story to be shared together publicly. The “telling of the story” concerns everyone; at the same time actors remain open, awake, sincere, essential, thus direct and simple. Understand theatrically is an action (with or without instrument) with emotion and comprehension.
14. Kéchak, originally is trance-dance of Bali. This dance, allows actors to work on voice, ensemble-rhythm and group energy/consciousness. Working on harmonisation.
15. Actors are moved and danced by ethnic-music, singing songs from different countries, composing consonants and vowels that produce sound (sacred syllable sound), which may become the means to communicate with.
16. Working on personal sacred syllable/sound/voice. To find, to give birth a syllable everyday. A syllable of one sound is composed by one vowel and 1 to 4 consonants. As in totem, the progression of the work, of the composition, of the sound, develops in a manner that the first day work/composition/sound will give birth to the second day syllable; the reality of the second day give birth to the third day, etc.
17. Pondering short phrases to consider as the crystal of thought, the fruits of contemplation. To reflect and share opinions, discussion in a group, all of these activities are the field, where thought can be cultivated and exercised to produce a common theatrical language.
18. Story telling, to be told individually or in-group. Listening to stories that are told by participants or myself, then to be done / realised together. Finding a common-language to be explored and to be built together. To give life to a story is to find together the inner impulsion of the story within us, to give rhythm, a work of heart-sharing experience.
19. Working on “totem”. A totem is object-composition that is developed by adding something daily to that composition; to be exposed and visited on the last day of the workshop. Totem could be personal or group. A totem could starts or initiated by a place or by an idea that demand object to be come real physically/materially.
20. When the spirit of the totem is reduced to a piece of card then it becomes an image, a picture that is built up over the days by adding a coloured line or form daily. It is called: Hard-Disc of personal identity. Hard-disc or “Disquette” is an expression of one’s being in design and sound.
21. Introducing the sense of ritual and the sacred, honoring objects of work, working-space and surroundings.
A place where you work (DO JO / MARGA PURA) is considered as place to cultivate the way of life. Everyone takes part in maintaining and preparing the space; it develops group work and the sense of responsibility.
Participants are suggested to bring with them: objects, mask, musical instrument, a wood stick of 35 mm diameter and the length is the distance from feet to eyebrow (third-eye).
If theatre is “the diamond of life”, its goal should be to crystallised experience/ story/ reality into expression, by awakening and cultivating the expression of “the three worlds”(body, emotion, thought). Following the path of harmony with nature and by adapting oneself to the needs of space, time and surroundings/ situation. An actor should be in good health, in equilibrium and sensitive to be able to animate the story (that animate them) for the audience who have come to share the tale-telling truth.
Brahman signifies the imperishable supreme.
The realm of the SELF is the clean clear liberated essence of ones being. To ACT is to be on the way of the manifestation of the creative process, which leads the BEING to existence.
Inspired by Bhagavad Gita, song VIII,
Tapa Sudana, at tribuana@wanadoo.fr
Workshop Tribuana in: Roma org. by Marco Adda: 15 - 19 january, contact 0039 + 328 9410442 , marcoadda@libero.it Paris org. by Olivier Richard, Cie Art Metamorphoses, 28 january to 1st. February, 10-14 march, 12-16 may, contact 33 (0)1 46 07 08 10, 33(0)6 24 83 52 35 , oprichard@cegetel.net Ostuni, Bari, Italia, org. by La Luna nel Pozzo, Robert McNeer and Pia Wachter, 19-23 march, contact: 0039 0831 33 03 53, 00 39 335 8037241, lupo.teatro@libero.it
Athens, org. by Manolis Karyotakis 30 210 34 54 491, 2-6 may 2008; Aegina, Greece, will be in april 21-25th, 2008 by Christina Chorafas contact 0030 2 29 70 26 885, oikiak@yahoo.gr Roma, still in process to be held in April from 3-7, org. by teatro Ygramul, contact 39 06 41229951, 39 3314703950, amaralina@libero.it and info@ygramul.net
In Paris, a Tribuana teatre manifestation will be organized by Compagnie pour l'Artisanat des Menteurs , in may from 24-25, contact: Sébastien Rabbé, 06 87 77 65 66, 08 70 37 93 93, sebrb@hotmail.com Teatro del Montevaso: http://www.teatrodelmontevaso.it/
Workshop Tribuana from 8-13 august 2008, contact:Francesca Pompeo Teatro del Montevaso s.p. Del Montevaso km 18 56034 Chianni (Pisa) tel e fax 0587 647617 tel 333 - 8592986 teatrodelmontevaso@montevaso.it
