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A "Way" for Actors: Asian Martial Arts Richard Nichols Stage creativity . . . demands the total concentration of the whole physical and spiritual natures of the actor and the participation of all his physical and psychic faculties. Constantine Stanislavski Concerning the Art of Acting and Directing (1) . . . what counts is the force of your concentration. Bodily tension and technical skills must be channeled through the attentiveness and intuition of the mind. Taisen Deshimaru The Zen Way to the Martial Arts (37) The theatre artist and the Zen monk never met, but they shared a vision of human behavior. For both, the apex of their respective arts is attainable only when the artist is free from distractions, possesses deeply ingrained technical skills, and behaves with purity of action. Asian martial arts have much to offer the actor who wishes to follow "the Way" of any given martial form. Yet, perhaps because of misconceptions about the martial arts or because we get stuck in traditional actor training modes, martial arts influences are more prevalent in business schools than in acting/movement studios. Therefore, a valuable and available resource goes largely untapped. This article suggests areas in which martial arts practice and philosophies may benefit student actors and, consequently, the art of theatre itself. Judo, Okinawan karate, and various Korean forms were found in actor training programs as early as the mid-1960's. By the end of that decade, the presence of martial arts in actor training programs to some extent reflected the profound alterations occurring in the landscape of the American theatre. The Living Theatre, The Open Theatre, The Performance Group, Byrd Hoffman School for Birds, the Ontological-Hysterical Theatre, El Teatro Campesino and many other groups developed new forms of expression as exciting, unorthodox alternatives to the previous staples of realism and musical comedy. Experimentation in form and content was paralleled by searches for new approaches to actor training. 43 44 Richard Nichols The martial arts were seen as viable, meaningful additions to or replacements for the traditional training triumvirate of tumbling, dance, and fencing. Out of the fervent 1970's, tai chi chuan and aikido emerged as and remain the most commonly employed martial forms in an actor training context, though certainly there are others from which an actor may glean important lessons.1 Because of their presence and fairly widespread availability now, tai chi and aikido will be the assumed martial forms in the following discussion, unless otherwise noted. Tai chi is Chinese in origin, an example of the so-called "internal" or "soft" style of martial arts, and probably is the most widely practiced of the forms mentioned in this article.2 Using some twenty-four to 128 postures (depending upon the tradition and the length of exercise desired), this controlled, ancient form of boxing seems to flow in slow motion, seeking unity of body and mind, each element in harmony with the other. Aikido is a relatively new form, developed in Japan prior to World War II and gaining only recent popularity in the United States. Classified as a "soft" form, aikido is known for its gentleness of spirit, its vision of harmony and unity in the universe, and for its fundamental tenet that conflict must be avoided whenever possible. The non-competitive nature of both aikido and tai chi make them especially attractive teaching tools for movement specialists. A listing of outcomes from actor training obviously will vary depending upon the program and teachers involved, but my experience tells me that these outcomes are commonly sought. Development of focus (concentration). Staying in the moment; the 'here and now.' Placement of images. Focus of energy and economy in action/gesture. Playing one action at a time. Expanding the horizons of self-image. Development of a flexible, controlled, and balanced body. Unification of mind and body. Appreciation and development of discipline. The ways in which the martial arts may assist the actor in the development and honing of these craft-related skills is the focus of what follows. Development of Focus. Actors must focus themselves before they can receive due attention from others. Charles McGaw puts it another way: attention on Asian Martial Arts 45 stage demands attention from...

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