Abstract:
Practice-based research on re-organization of training and exploration of performance practices beyond geographical/aesthetic background to look deeply in to practice model for actor-performer training in an intercultural scenario.
- To what extent is it possible to push the boundaries of the development of physical Actor training. Which will enable as actor to work with any dramaturgical context in this present time?
- To what extent might it be possible for an intercultural actor-performer to successfully incorporate combinations of principles and practices toward cultivating a unique actor?
- What is our interculturality? Where is it located?
We have strong purpose in intercultural theatre training system and if the purpose is to become an intercultural actor, you should be able to respond, to interact with and create something that may be unknown to you and completely unfamiliar with your historical, geographical, linguistic and aesthetical background. So, the constant challenge is to consciously suggest a completely new body of receptivity and psychological acceptance toward the actor’s creativity.
How do you develop an actor’s body and mind toward this direction?
Theatre should not be a location of exhibitionistic manifestations of actor training methods. Training methods in theatre and acting need to be catalytic in the creative sojourn of characterization. A contemporary actor has to develop psychological states which can appropriate the new and inquire the unknown otherwise it would be difficult for a contemporary actor to engage a novel and inspiring acting method. The choices of an actor to preserve and experiment with his body as a medium must be scientific, objective and rational in an age where mechanization and techno crazy prevail. The actor is entitled to explore his/her energy to bring out a bang of the mass media maintained and manipulated consistently by hegemonic cultural practices and dominant ideologies in the world of art. The creative ambience in acting is to be reconsidered so that the actor can reconstruct the creative process through once own body and psyche is to be fashioned.
BIO:
Actor, director, researcher and theatre-trainer, Sreejith Remanan is currently Head of the Department at the School of Drama and Fine Arts, and Campus Director at Dr. John Matthai Centre,Thrissur. (University of Calicut).
Born in the southern most state of India, Kerala Sreejith has completed his Bachelor of Theatre Arts (School of Drama, Thrissur), Master of Performing Arts (University of Hyderabad), Master of Philosophy in theatre (Mahatma Gandhi University) and three-year diploma in contemporary acting (Theatre Training Research Programme, Singapore). He is an active performer, who has participated in about 80 productions in various capacities that were staged all over India and abroad. He was casted in the lead role in the play Saketham that was staged in Tokyo and also in the plays of Maya Tungberg, Philip Zarilly, Fueda Uichiro, Leela Alaniz, Kok Heng Luen, S.Ramanujam, Abilash Pillai,Hiroshi Koike and Ram Gopal Bajaj. He has also won the best actor award by the state government of Kerala in 2003 for Chayamukhi, directed by Prasanth Narayanan. He was the Technical Director for the prestigious International Theatre Festival of Kerala.