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- W2237824211 abstract "The importance of being serious and treating the practice seriously is emphasised across many different psychophysical performer trainings, with practitioners following Grotowski’s lead and emphasising the need, as Slowiak and Cuesta highlight, to ‘Leave all giggling, jokes, social chatter … outside the workspace’. However, drawing on a range of practices, particularly experiences as a participant-observer in Phillip Zarrilli and Sandra Reeve’s trainings, this article contends that these private forms of fun should be viewed and utilised as integral to the practice. Aided by Bakhtin’s depiction of the carnivalesque and focusing upon the, as yet, unexamined environment of the performer training changing room and other related daily moments and spaces, it explores participants’ parodic, playful and grotesque treatment of the trainings and their bodies. Frequently sidelined as taboo, these rebellious counter-discourses produce the means for the participant to jokingly question and unwrap the training processes and their evolving bodymind within them. It is argued that these discourses not only enable the participant’s independent ownership of their training, but develop a powerful alternative form of group awareness. This group awareness strengthens the individual participant’s independence, and creates a deeply useful presence of love and care within the training space." @default.
- W2237824211 created "2016-06-24" @default.
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- W2237824211 date "2015-09-02" @default.
- W2237824211 modified "2023-09-25" @default.
- W2237824211 title "Laughter and love: creative counter-discourses within performer training" @default.
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- W2237824211 doi "https://doi.org/10.1080/19443927.2015.1086426" @default.
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