Nair, Sreenath (2013) Trance-formations: intercorporeality in performance studies. Cambridge Scholars Press, Newcastle . ISBN UNSPECIFIED (In Press)

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Abstract

Performance is a trance-formational act. Actor experiences a range of trance-formations-physical and mental-in a performance situation. Mental images of the characters as well as the physical interpretation of fictional activities are considered as two integral parts of actor’s trance-formation. The art of actor’s transformation begins with Shaman as the actor. The Natyasastra, the Indian manual on acting composed between 200 BC 200 AD offers a more scientific version of the analysis of actor’s trance-formation as Rasa. Indian Yogic traditions, on the other hand, demonstrate the existence of various psychophysical conditions of trance-formations within the self. The religio-spiritual models of trance-formations proposed by Yogic traditions are complex in nature due to the application of psychophysical techniques. Breath, for instance, is used as a key psychophysical technique in various yogic systems to work with the energy, presence, and a trance-mundane quality of individual self. Unlike performance models, religio-spiritual models are non-representational and therefore non-theatrical. Whereas performance models are inherently, ‘performative’ intended to create physical and mental representations within a performance situation. Performance traditions in India offer various trance-formational psychophysical tools such as hand-gestures (Mudra), improvisation (Manodharma), Voice (swara), Eyes and physical movements. In this book, I will investigate the importance of a range of corporeal techniques offered by Indian bodily traditions in the context of cross-cultural performance research and actor training.

Item Type:	Book
Additional Information:	Performance is a trance-formational act. Actor experiences a range of trance-formations-physical and mental-in a performance situation. Mental images of the characters as well as the physical interpretation of fictional activities are considered as two integral parts of actor’s trance-formation. The art of actor’s transformation begins with Shaman as the actor. The Natyasastra, the Indian manual on acting composed between 200 BC 200 AD offers a more scientific version of the analysis of actor’s trance-formation as Rasa. Indian Yogic traditions, on the other hand, demonstrate the existence of various psychophysical conditions of trance-formations within the self. The religio-spiritual models of trance-formations proposed by Yogic traditions are complex in nature due to the application of psychophysical techniques. Breath, for instance, is used as a key psychophysical technique in various yogic systems to work with the energy, presence, and a trance-mundane quality of individual self. Unlike performance models, religio-spiritual models are non-representational and therefore non-theatrical. Whereas performance models are inherently, ‘performative’ intended to create physical and mental representations within a performance situation. Performance traditions in India offer various trance-formational psychophysical tools such as hand-gestures (Mudra), improvisation (Manodharma), Voice (swara), Eyes and physical movements. In this book, I will investigate the importance of a range of corporeal techniques offered by Indian bodily traditions in the context of cross-cultural performance research and actor training.
Keywords:	Theatre studies, Performance studies, Intercultural theatre, actor-training, Indian theatre, South Asian Studies, the Body
Subjects:	T Eastern, Asiatic, African, American and Australasian Languages, Literature and related subjects > T300 South Asian studies W Creative Arts and Design > W310 Musicianship/Performance studies W Creative Arts and Design > W440 Theatre studies W Creative Arts and Design > W400 Drama T Eastern, Asiatic, African, American and Australasian Languages, Literature and related subjects > T390 South Asian studies not elsewhere classified
Divisions:	College of Arts > Faculty of Media, Humanities & Performance > Lincoln School of Performing Arts
Depositing User:	Sreenath Nair
Date Deposited:	17 Jan 2011 18:34
Last Modified:	06 Feb 2013 13:03
URI:	http://eprints.lincoln.ac.uk/id/eprint/3863

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