From Composition to Microperception
The Palpable in Acting: The Actor as a Composer
The starting point of this research was permeated by the following questions: how can we think of composition in relation to the work of the actor-performer? How can we explore such an aspect in practical terms? Compositional practices permeates different artforms, but how can it be explored in the work of the actor-performer?
Considering it as a principle in which materials are combined, articulated and re-signified, our practical research made us perceive the importance of physical actions in this process, which is explored in this case as a tool which has been used in different ways by many theatre and performance artists, such as Vsevolod Meyerhold, Michael Chekhov, Jerzy Grotowski, Eugenio Barba, Anne Bogart and Mary Overli, among others.
The impalpable in Acting: the kinetics of the Invisible
If on the one hand composition led us to focus on what is palpable in acting processes, after the direct contact with the work developed by Peter Brook’s actors - Tapa Sudana, Sotigui Kouyate and Yoshi Oida – our attention turned to what is impalpable, slippery, hidden in acting processes. In other words, we started looking at what can be perceived but can’t be seen in performative processes.
Nowadays the exploration of composition and the attempt to materialize the invisible(s), both, are deeply intertwined, they represent layers that permeates our work.