ASF founders Gianni and JyO share in this podcast about their heritage and how that influences them to explore the various Intercultural theatre forms.
We invite you to be part of this journey as a performing artist to share your work and aspirations.
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As co-founders of ASF with Kerala heritage, both JyO and I, Gianni, found ourselves deeply engaged in our Harvest festival, Onam, which typically falls towards the end of August. We deeply appreciate our connection to our heritage as it not only defines our identity but also keeps us firmly grounded. This experience ignited a discussion on ASF’s vision for Intercultural theatre. We must acknowledge that our genuine appreciation for our own cultural roots serves as an inspiring starting point to explore diverse intercultural traditions.
Our vision revolves around the exploration of traditional performances, beginning within India and eventually extending to neighboring South-East Asian countries that share Indian cultural origins but have evolved into unique local expressions. As we embark on this journey in the coming year, we extend an invitation to you to join us in listening to our podcast where we share our reflections and the inspiration we draw from our heritage and the world of Intercultural Theatre.
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It’s Theatrical style and enduring appeal :
Central to commedia dell’arte is its hallmark improvisation, wherein actors entwine their enactments with a broad scenario outline. They adapt their movements and dialogues based on audience responses and interactions. This fluid technique necessitates exceptional physicality, impeccable timing, and a profound comprehension of character dynamics. Through intricate physical gestures, animated slapstick, and clever wordplay, actors engage in an enchanting choreography of humour that overcomes linguistic and cultural barriers.
Its significance in the world of theatre and entertainment :
The influence of commedia dell’arte stretches far beyond its historical genesis. It has etched an everlasting impression on contemporary comedic and theatrical traditions, shaping the progression of physical humour, masked theatrics, and character-driven narratives. Its legacy endures in modern entertainment, embodying the timeless potency of laughter and the limitless innovation of human imagination.
The colourful and iconic characters:
Harlequin, a vibrant trickster in patchwork attire, dazzles with acrobatics, his mischievous spirit igniting chaos and laughter. Pantalone, the wealthy merchant draped in opulence, hatches cunning plots that often backfire, portraying the folly of greed. Columbina, the winsome maid in her elegant simplicity, steers the narratives with wit, juggling admirers and adding a touch of cunning charm. Harlequin’s nimble escapades evade Pantalone’s clutches in an uproarious scene, guided by Columbina’s quick thinking.
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The universal appeal of humour transcends time and language barriers. Commedia dell’arte exemplifies this magnificently as a vibrant and impactful form of Italian theatrical entertainment. Emergent during the 16th century, it remains a captivating embodiment of impromptu creativity and an enduring comedic spirit. Originating in the lively streets of Renaissance Italy, this genre is marked by its distinct use of stock characters, lively physical performances, and hilarious wit.
At its heart, commedia dell’arte is a dynamic fusion of preplanned scenarios and spontaneous interactions. The actors, often known as “players,” depict recurring classic personas, each adorned with amplified traits and recognizable masks. Among them are the clever Harlequin, the boastful Captain, and the enamored Columbina. These characters stand as timeless channels for satire and social commentary, granting artists the means to reflect on societal norms and human oddities through exaggerated portrayals.
Share stories or anecdotes about famous actors, writers, or directors who were inspired by or involved in commedia dell’arte. This can make the topic feel more relatable and show its enduring influence.
Renowned British actor Rowan Atkinson, celebrated for his beloved character Mr. Bean, found creative resonance in commedia dell’arte’s physical humor and expressive actions. Likewise, Italian filmmaker Federico Fellini seamlessly integrated commedia dell’arte elements, infusing his creations with its lively essence. Playwright Carlo Goldoni, a revered figure, transformed the genre by crafting comedies with distinct characters, leaving an enduring mark. These notable figures illuminate the enduring impact of commedia dell’arte on contemporary comedy and theater, a testament to its timeless influence.
Highlight the colorful and iconic characters like Harlequin, Pantalone, and Columbina. Describe their distinctive traits, costumes, and roles within the performances. Use vivid anecdotes to make these characters come alive.
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Kabuki is a traditional Japanese theatre form that originated in the Edo period of the 17th century. Kabuki theatre is inscribed on the representative list of the Intangible Cultural Heritage of Humanity by UNESCO in 2008.
It was founded by a female performer named Izumo no Okuni and mainly performed by women. However with time due to moral degradation of the performers, the government of that time banned women from performing it. This tradition is maintained to this day.
Kabuki storylines explore the depths of human emotions, societal conflicts, and personal journeys. The stories may revolve around legendary samurais, epic romances, quests for vengeance, encounters with supernatural forces, or the clash between tradition and modernity. Kabuki in Japan was performed in full-day programmes, with one play comprising a number of acts spanning the entire day. The full day performance structure was drawn mainly from Bunraku and Noh plays.
Some of the Major Character role types include the Onnagata, the female role specialised by male actors, Aragoto, the rough style and the Wagoto, the Soft style.
The main attraction of the Kabuki stage is a hanamichi (footbridge) which extends into the audience. Some other specialities of a Kabuki stage are Keren, stage tricks such as revolving stage, trapdoors which helps the actors to appear and disappear in an instant to enhance the dramatic impact.
The concept of Jo- ha- kyu which is explained in detail in the book ‘The Invisible Actor’ by Yoshi Oida. In short, it is a pacing concept in theatre in which the action of a play should start slow, speed up, and end quickly.
The concept of Jo- ha- kyu was elaborated by Noh playwright Zeami, that is not only the actions of the actors, but also the structure of the play. It is also applicable to the structure of scenes and plays within a day-long programme.
In our next blog this week, we shall be touching on the techniques employed by the Kabuki performance.
References :
https://ich.unesco.org/en/RL/kabuki-theatre-00163
Kabuki Categories|Guide to Kabuki
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Understanding the Relevance Of This Art Form in Today’s World
Chhau dance is an important part of the cultural heritage of eastern India, by keeping the tradition alive, Chhau helps to preserve the cultural heritage of the area and pass it down to future generations.
By promoting Chhau dance, local communities can generate revenue through tourism and create economic opportunities.
Chhau dance is a distinctive art form that showcases the diversity of Indian culture and promotes cultural exchange between different communities. It promotes social cohesion by bringing together people from different communities, castes, and religions.
Chhau dance provides a platform for creative expression and artistic innovation. It allows for creative interpretation and experimentation, enabling artists to push the boundaries of the art form and create new works that reflect contemporary issues and concerns.
Reference:
http://www.mayurbhanjchhau.org/
Blog 133
What is Chhau Indian Performance and its History?
Chhau is a traditional Indian performance art that integrates martial arts, theatre, and local dance techniques with aspects of folk, classical, and tribal styles. Its origins can be found in India’s Vedic era, when monarchs and nobility enjoyed it as a kind of entertainment. In the present day it performed at events including weddings, festivals, and religious ceremonies.
Understanding the Key Elements of an Authentic Chhau Performance
Chhau dancers dress in masks that are representations of Hindu deities like Hanuman, Shiva, and Vishnu. The masks are painted in vivid colours and fashioned of clay or papier-mâché help to bring the characters to life.
Chhau outfits are made of silk or cotton and come in vibrant colours. The detailed headgear and accessories are included as part of the costumes.
The tempo and atmosphere of the performance are influenced by the traditional musical instruments like the dhol, shehnai, and flute.
The three primary Chhau dance forms are as follows:
Seraikella Chhau is the most well-known and commonly recognised Chhau form. It is renowned for its beautiful and flowing motions and has its roots in Seraikella, Jharkhand. It is performed while wearing masks and represents Indian mythological tales such as the conflict between Rama and Ravana.
Purulia Chhau, first appeared in West Bengal which does not involve wearing of masks. The dancers use acrobatic moves influenced by martial arts while donning colourful costumes.
Mayurbhanj Chhau originated in Odisha.. It is renowned for its colourful clay masks and its intricate footwork. It is performed to traditional music that uses instruments like the dhol, shehnai, and flute and involves martial arts moves as well.
Many more regional variations of Chhau have evolved over time. The emphasis on narrative, elaborate choreography, and traditional music and instruments is present in all Chhau forms.
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He refrains from giving out methods and he does not try to teach. Instead, with humour and modesty he brings his working day to life – with its dreams, its defeats, its ideals and its discoveries – nourished by the special understanding given to him by his own tradition.
But he tricks us with his title. There are no tricks, there are no explanations. There are only experiences. This is the real teaching.
– Peter Brook
“When Yoshi uses the word ‘mind’ he is not referring to the brain or the intellect. There is a single word in Japanese, Kokoro, which can be translated as either ‘mind or ‘heart’. Probably, it is best to think about it as your ‘inner self’.”
– Lorna Marshall
Instead of making your choice by thinking from the head, Yoshi encourages actors to make decisions from any part of the body by listening and tuning in to the body.
Both the above quotes on Yoshi Oida’s approach point to the inward journey each one of us must undertake to achieve what we set out for ourselves. Immersing in oneself, in the environment of our choice, we need to deep dive to uncover our unique identity from listening to our body and continue uncovering our true identity and style.
How much inspiration can be drawn from Yoshi Oida’s life and journey. Similarly, one day many of us will have our own explorations which will be added on to the collection of styles and practices from which others will draw references.
Blog 127
In this week’s blog posts focus is on Yoshi Oida who can be considered a truly inspiring intercultural theatre performer. His early exposure as a child actor started in Japan, his motherland. He explored the various classical Japanese Theatre forms such as Noh, Kabuki and Gidaiyu as he was growing up. He went on to engage in Experimental theatre with playwright Yukio Mishima.
However, his yearning for theatre was so deep that he left Japan in his thirties as he was so intrigued by Peter Brook’s ideas about theatre. There has been no turning back as Yoshi immersed himself in the theatre space in Paris where he has been involved in truly acclaimed productions such as in The Ik, The Conference of the Birds, The Mahabharata and The Tempest. He now directs plays, runs workshops all over the world and acted in Japanese, French and American films.
He has authored several books with An Actor Adrift, An Actor’s Tricks, The Invisible Actor, The body speaks. Yoshi Oida has won awards such as the Chevalier de l’Ordre des Arts et des Lettres, France in 1992 and His most recent award was in 2007 which was a Officer de I’ordre des Arts des Lettres in France.
Yoshi Oida, an actor from the east aspiring to explore, evolve and grow in a foreign land where he carved a space of his own and evolved his own unique style as an actor both in theatre and film, to becoming a director, authoring books and conducting workshops. We can surely take inspiration from such performers who have dedicated their lives to acting and thereby becoming living legends of theatre and acting.
Join us in our next Blog post to learn some of the self-realised practices imparted by Yoshi Oida.
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In this week’s blog on Intercultural Theatre, we will be discovering and exploring the Wayang Wong from Indonesia. There are techniques and practices that we can learn from the many traditional arts forms which can inspire contemporary performers. JyO, ASF’s in-house trainer who had the privilege of being trained by a Master Bambang Besur from Java, Indonesia in Wayang Wong while pursuing her Professional Diploma in Intercultural Theatre Acting at ITI Singapore.
I was fortunate to be trained in Wayang Wong by master Bambang Besur from Indonesia. The process itself was a pilgrimage as the master deepened our learning as contemporary actors from the traditional form.
I was introduced to the basic movements. The form allowed me to find freedom in body and voice. The mystical gamelan music was a trigger to connect with peace while undergoing the training. As an actor, this experience brought another world of understanding within me in relation to the world
I especially experienced the change in my connection with things outside of myself when doing an exercise in slowness. As part of the training, I underwent a special overnight experience of living in complete slowness. I was eating slowly, drinking slowly, walking slowly, sitting slowly. From 6pm in the evening to the next morning at 6am I was observing the world around me, and observing the ’ I’ within. The mental clock was reset and it opened a special kind of realisation of what I was seeing, hearing and learning.
I had a unique experience of exploring the feeling of touch and the idea of body sculpture by relating myself as the temple wooden/stone reliefs* in mythological stories.
During body pilgrimage exercises, I was able to expand my body and become very fluid in various spaces while standing on the floor or off the wall.
This weekend, on ASF podcast, I will share how I gained as a contemporary performer through my exposure to various intercultural performance training such as Wayang Wong, Kutiyattam, Chinese Opera, etc. which helped my growth and development as a performer. Tune in to our podcast on Spotify at Acting Space Forum.
*stone relief, a sculptural method in which the sculpted pieces are bonded to a solid background of the same material.
Acting Space Forum 