Organized by Dr. Kiki Selioni Post-doc Researcher Royal Central School of Speech and Drama (as part of her research Biophysical Acting), CISPA (Copenhagen International School of Performing Arts), Labanarium, and MCF (Michael Cacoyannis Foundation) and hosted by CISPA.
Conference Venue: CISPA – Copenhagen International School of Performing Arts, Glentevej 61, 2400 Copenhagen NV, Denmark
Following the successful conference entitled ’Laban’s Philosophy and Theatre Practice’ held July 2018 in Athens, Post-doctoral Researcher Dr Kiki Selioni, Royal Central School of Speech and Drama, CISPA, Labanarium and MCF have taken the initiative to organize a second event in Copenhagen. The aim is to create a series of international events to meet colleagues, practitioners, and researchers, to share experiences, knowledge and current research practices in the field of actor-training and performance practices. The final goal is to create an international network to exchange dialogues of the arising challenges of the 21st-century academies, institutions, as well as the arts industry.
Rhythm and Resonance in Acting Practice
In this conference, we intend to investigate the two illusive concepts of Rhythm and Resonance, and their possible correlation, from a variety of angles. The go-to definitions of rhythm are defined as a patterned recurrence of a beat, pulse or accent, and resonance as vibration, reverberation, amplification of the range of audibility, and distribution of amplitudes among interrelated bodily cavities (www.dictionary.com). These two concepts are embodied by the actor, immediately relevant, even essential, and are interplay in actors’ training and practices is worth exploring further.
In the essay Towards an Organic Approach to Actor Training: A Criticism of the Stanislavski Scheme, Duncan Ross proposes that:
… the organism as a structure of activity organizing its unitary totality in a continuous flow of configurations of its energy, maintaining in an ever-changing immediate situation the soul of its nature manifested in the cyclic duration of its life process, exhibits an entity for which the only comprehensive description is Rhythm…In such an entity every occurrence, percept, image, movement or any other function is a modification of the rhythmic whole, the “vibratory ebb, and flow.” In such a model, reading words on a page is a bodily activity which as it progresses becomes in Richards’ words, “a vast cyclic
agitation spreading all over the body (Ross, 1968: 265).
In what way do acting methods train the actor to understand, embody and enrich their rhythmical configurations?
How is the rhythm experienced by actors in the rehearsal process/performance?
In what way do actors’ rhythms function as a means of communication to the audience?