Abstract:
The Latvian theater school is rooted in the principles of psychological realism. According to my observations, this strict adherence limits exploration of physicality, hindering its evolution. During my tenure as an acting lecturer at the Latvian Academy of Culture, I try to ignite actors’ interest in the physical dimension of their craft.
This presentation aims to demonstrate a method I’ve developed to free body language from the confines of psychological realism. In this method psychological realism collides and merges with the interpretations of J. Lecoq’s concept of neutrality and V. Meyerhold’s theatrical vision.
The process begins with a scene performed in the style of psychological realism. The scene is then deconstructed focusing on bodily expressions. Then physical actions depicted in the scene are compared to a theoretically neutral version. Finally, differences are highlighted by incorporating elements such as amplitude, tempo, repetition, and rhythm.
The outcome is a transformation of the etude from psychological realism into a distinctive physical theater scene. Interestingly, even thou actors concentrate exclusively on body and movement, the scene’s dramatic context remains evident, and the emotional shifts of the characters can still be felt.
BIO:
Karlis, with an artistic background in acting, directing, and playwriting, lectures at the Latvian Academy of Culture (LAC). In parallel, he is pursuing doctoral research on the contemporary use of elements of Commedia dell’arte in the LAC curriculum.