2008 ◽  
Vol 11 (2-3) ◽  
pp. 174-194 ◽  
Author(s):  
David Brown ◽  
George Jennings ◽  
Aspasia Leledaki

2011 ◽  
Vol 27 (3) ◽  
pp. 244-271 ◽  
Author(s):  
Phillip B. Zarrilli

This essay articulates a South Asian understanding of embodied psychophysical practices and processes with a specific focus on Kerala, India. In addition to consulting relevant Indian texts and contemporary scholarly accounts, it is based upon extensive ethnographic research and practice conducted with actors, dancers, yoga practitioners, and martial artists in Kerala between 1976 and 2003. During 2003 the author conducted extensive interviews with kutiyattam and kathakali actors about how they understand, talk about, and teach acting within their lineages. Phillip Zarrilli is Artistic Director of The Llanarth Group, and is internationally known for training actors in psychophysical processes using Asian martial arts and yoga. He lived in Kerala, India, for seven years between 1976 and 1989 while training in kalarippayattu and kathakali dance-drama. His books include Psychophysical Acting: an Intercultural Approach after Stanislavski, Kathakali Dance-Drama: Where Gods and Demons Come to Play, and When the Body Becomes All Eyes. He is Professor of Performance Practice at Exeter University.


1991 ◽  
Vol 1 (1) ◽  
pp. 43-60
Author(s):  
Richard Nichols

2008 ◽  
Vol 24 (1) ◽  
pp. 24-40 ◽  
Author(s):  
Phillip B. Zarrilli

This article provides an illustrated description and analysis of Speaking Stones – a collaborative performance commissioned by Theatre Asou of Graz, Austria, with UK playwright Kaite O'Reilly and director Phillip Zarrilli as a response to the increasingly xenophobic and reactionary realities of the politics of central Europe. The account interrogates the question, the dramaturgical possibilities, and the performative premise which guided the creation of Speaking Stones. Phillip Zarrilli is internationally known for training actors through Asian martial arts and yoga, and as a director. In 2008 he is directing the premiere of Kaite O'Reilly's The Almond and the Seahorse for Sherman-Cymru Theatre and the Korean premiere of Sarah Kane's 4:48 Psychosis. He is also Professor of Performance Practice at the University of Exeter.


2012 ◽  
Vol 8 ◽  
pp. 27-35
Author(s):  
Marc Theeboom ◽  
Zhu Dong ◽  
Jikkemien Vertonghen

2020 ◽  
Vol 8 (1) ◽  
pp. 199-228 ◽  
Author(s):  
Bok Kyu Choi

Fight books can be defined as texts specialising in the theories of martial arts and the instruction  of techniques (for future generations) based on actual experience of real fighting and training. According to this definition, today's efforts to reconstruct classical martial arts based upon historic fight books, in both East and West, are attempts to resurrect something extinct. Traditional East Asian martial artists, however, often argue that there are substantial limits in the reconstruction process of, for example, medieval European martial arts given the discontinuity of embodied knowledge, especially when compared to the Asian arts’ presumed strong transmission from generation to generation without interruption. Both seem quite different, but they share the epistemological assumption that authentic archetypes of martial arts did exist at some point in the past and believe it possible to transmit or reconstruct them in the present. This paper examines the limitations to the hypothesis of the existence of martial arts archetypes by examining the discourse surrounding the inherited tradition of the Muyedobotongji in Korea. The authors of the Muyedobotongji successfully synthesised and standardised contemporary East Asian martial arts and shared that knowledge from the perspective of Joseon[1] in the late eighteenth century. Now, after 200 years, we must do our part to breathe new life into it for this era.


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