By Yoshi Oida, Lorna Marshall
First released in 1998. Routledge is an imprint of Taylor & Francis, an informa corporation.
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Extra resources for The Invisible Actor
It suddenly becomes important that you engage fully, and avoid sloppiness. In this way, the qualitY ofyour work will improve, and the training will be genuinely useful. If you think that you are 'only doing an exercise', the work will be of lime value, irrespective of how well you perform it. You can even practise this technique in daily life. Imagine that you are on the stage and that people are watching. Of course, you don't need to portray a character, or do anything fancy. Just be yourself.
Another Noh master phrased it slighdy differendy. He said, 'The secret is in the little finger and the a~ch of the foot. You place your force there. ' In fact, it is impossible to tense the muscles strongly in those areas, but, by thinking about these regions, you have directed your attention away from your head, or neck, or legs (where muscular tension creates visible problems for the actor). WALKING When you observe someone who naturally walks well, they don't seem to move from their hips to the head.
I am not saying that having an unchanging, monotonous life is good, but certain repeated actions can have a very strong effect. They can change you. When you meditate, you sit in the same position, day after day. And in African dance, you move the pelvis (or sternum) forwards and backwards, creating a repeated pulse of the spine. The spine makes waves, and, if you continue this movement, your interior state alters. In the same way, the dervishes in the Middle East use constant turning to enter into a trance-like state.