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  1. 1 Konteksty - Polska Sztuka Ludowa

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  1. 1 2008

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  1. 1 Jablonska M.

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DRAMATURGY OF THE BODY. AN OUTLINE OF A RESEARCH PROJECT UPON THE EXAMPLE OF AN ANALYSIS OF SPINAL TRAINING AT THE CENTRE FOR THEATRE PRACTICES 'GARDZIENICE' (Dramaturgia ciala. Zarys projektu badawczego na przykladzie analizy praktyk cielesnych OPT

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Jablonska M.
Konteksty - Polska Sztuka Ludowa
|
2008
|
vol. 62
|
issue 1(280)
129-135
EN
Recognition of dissimilarity in acting technique of OPT 'Gardzienice' as a result of unique body formation (gardzienice body), which is a product of the long lasting training, is starting point of this paper. The dissimilarity reaches not only body formation but also performance composition built on physical activity and nonverbal signs, which become actual performance's message. Undertaken research perspective includes description of three levels of performer's physical existence in receiver's perception: biological (performer's bios), esthetical, iconic, which allows in the future to effectuate the performance analysis from the angle of corporal acts dramaturgy. This paper is focused on biological level - performer's bios. The body-use method of description based on Eugenio Barba's theatre anthropology sets forth the image of gardzienice body (as variant of performer's bios) and its meanings in performer and receiver perspective. The most recognisable elements of body formation on a biological level are: extraordinary absorption and exaggerated movement of spinal column, leading the movement out of loins, collective short distance movement synchronised by audible breathing, great frequency of tactile contact. They are the result of musicality and mutuality - the main principles of Gardzienice's training - executed in practice and reflected in existing of distinctive body practices such as: position of compact energy, group acrobatics, night running. Main meanings of performer's body formation which are: eroticism, risk, commitment, are, usually unconsciously, recognised and by means of emotional empathy and metakinesthesia evoke physiological response in receiver's body. As reflection of theatre work ethos they also force receiver to revaluate one's own existential attitude.
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