Theodoros Terzopoulos’ Dionysiac Actor and Her/His Presence on the Stage
Burcu HalaçoğluTheodoros Terzopoulos places the actor at the center of his theater and builds his own theater language on actor training and research he developed over the years. The main material of his acting technique, which is a product of this training and research process, is actor's body. In order to reveal the potential of the actor's body, the primary objective is to release the energies that are blocked. Thus, the actor pursues a state of being, an ecstasis through his body which becomes a free energy channel. In the state of ecstasis, the distinction between mind and body disappears completely; the actor experiences a presence in which he involves with his whole body. This study analyzes the relationship between the presence of the actor and the state of dionysiac ecstasis aimed at by Terzopoulos and examines the ways this relationship can contribute to the presence of the actor on the stage.
Theodoros Terzopoulos’un Dionizyak Oyuncusu ve Sahnedeki Mevcudiyeti
Burcu HalaçoğluTheodoros Terzopoulos tiyatrosunun odağına oyuncuyu koyar ve kendi tiyatro dilini yıllar içinde geliştirdiği oyunculuk eğitim ve araştırması üzerine kurar. Bu eğitim ve araştırma sürecinin bir ürünü olarak ortaya çıkan oyunculuk tekniğinin ana malzemesi oyuncunun bedenidir. Oyuncunun bedeninin sahip olduğu potansiyeli ortaya çıkarmak için öncelikli hedef ise tıkalı durumdaki enerjileri serbest bırakmaktır. Böylece oyuncu, özgür bir enerji kanalına dönüşen bedeni aracılığıyla bir varoluşun, bir esrime halinin peşine düşer. Esrime halinde zihin ve beden ayrımı tümüyle yok olur; oyuncu bütün bedeniyle hissettiği bir mevcudiyeti deneyimler. Bu çalışmada Terzopoulos’un oyunculuk araştırmalarında hedeflediği dionizyak esrime halinin oyuncunun mevcudiyeti ile ilişkisi üzerinde durulmuş, bu ilişkinin oyuncunun sahne üzerindeki mevcudiyetine nasıl bir katkı sunabileceği araştırılmıştır.
This study analyzes the relationship between the presence of the actor and the state of dionysiac ecstasis aimed at by Theodoros Terzopoulos and also examines the ways this relationship can contribute to the presence of the actor on the stage. In order to relate the presence of the actor with the state of dionysiac ecstasis, firstly theater of Terzopoulos is shortly described and what is the main focus of him is defined. Then the relationship between the presence of the actor and the state of dionysiac ecstasis is examined. The main material of Terzopoulos’ technique is the actor’s body and the most distinctive quality of his theater is the actors’ use of body. While working on the actor’s body his primary aim is to release the energies that are blocked. Only then, the actor can reach the point of ecstasis.
The word “ecstasis” (ékstasis) was used in the meaning of “changing place or state, losing consciousness and forgetting oneself” in Ancient Greek. In Latin it has the same roots as the verb “exsistere”1 , which is used to mean “exist and occur” and is used in the same sense as the word “vecd” in Arabic which has the same root of the word “presence”. Based on all these words, it can be said that the state of ecstasis is related to going beyond the daily presence and experiencing a more deeply felt wholeness. Terzopoulos emphasizes that this deep experience is actually an ongoing change of state and presence and finds the roots of this transcendental state in tragedies and the Dionysian mystery. After long trials Terzopoulos formulates a method of reaching this ecstatic state which is totaly physical. He technically summarizes this method as following: “It is about releasing seven critical points in the spine so that energy is not blocked vertically. Energy should flow in the vertical plane without any obstacles. This is the first job in our theater. When energy flows vertically, it moves both upwards, to the sky and to the earth at the same time. Thus, it spreads in all directions and becomes universal. You turn into Dionysus.”
Terzopoulos’ expressions about energy remind Eugenio Barba’s work on energy. The presence of the actor is precisely related to this energy, it is this energy that gives the actor’s body vitality and enables it to be present. Although this energy is a “intangible, unidentifiable and immeasurable force”3 , the word of presence must be understood literally as “ the ability to be and feel alive and to convey this awareness to the audience.”4 Working on the body parts in depth he tries to reach a flow of energy where every part of the body can be the center.
These centers can also change constantly. It is the state of being and experience itself at that moment rather than showing or acting something. Terzopoulos mentions that he aims at the presence of the actor with this; his purpose is “ontologically pre-theater” beyond anything like character, role and psychology.
Terzopoulos’s acting technique provides a framework that can be used to improve the actor’s presence on stage. The actor’s relationship with the play develops thanks to the physical exercises applied for the development of the actor’s holistic body perception and the circulation of vital energy, especially through the detailed work and activation of the seven parts. In this sense, all physical works, breathing and concentration exercises that enable both the energy centers in the body to relax and become active, provide an integrated workspace that every actor can apply to improve the presence of stage, even if she/he is not an actor of his theater. It also gives a structural suggestion to work on the presence as a wholistic training.
