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Transcript of Tadashi Suzuki
Born in June 20th, 1939 in Shimizu City.
He trained in both western and eastern theatrical forms and increasingly turned to the classical Japanese performing art forms of Noh and Kabuki for ideas and uses of the body in performance. In 1984, he founded the Suzuki Company of Toga in the small village of Toga in Japan. How to act with your Mind, Body and SOlE
(pUN iNTENDED) III. To sustain acting, an awareness of the invisible body is required.
II. For acting to begin, one must have an audience.
I. To act, one must have a point of view.
Let your Feet Do the Acting 86 wrote "The Way of Acting" He introduced a conceptual schema that he called the ‘grammar of the feet'. He noted that his approach to the actor's body began with an emphasis on the position of the feet which was different from the Western focus on facial expressions, gestures, and the movement of the body. For Suzuki, awareness of the feet and their relationship to what he called one's ‘center' is the primary factor in an actor's performance. In his text he argued that: “The way in which the feet are used is the basis of a stage performance…the movements of the arms and hands can only augment the feeling inherent in the body positions established by the feet.” The Three Major Keys for an Actor Suzuki has argued that the modern world has dismembered our physical faculties and our essential selves. Suggesting that we all wish to reunite these parts of ourselves and to overcome our limitations, he believes that what becomes interesting for actors to explore and for audiences to watch is the way actors can overcome obstacles. For Suzuki, acting should be judged by the reasons the actor has to stand on a stage and he suggests that an actor's lack of skill often only displays an actor's physical limitations and personal oppressions. Philosophy: Quotes:
"There are two impulses in theatre: to be frivolous or to make rules."
"All the world is a hospital and all the men and women are inmates of that hospital."
"If your productions are only talking to people with whom you share a common language and culture—that's entertainment," he remarks. "But if the work is appreciated by those outside your language, culture, and values—that's art. The theatre has a language barrier against multinational participation, so my goal is to diminish that language barrier." Waiting for Orestes: Electra