Stanislavski Studies

Practice, Legacy, and Contemporary Theater

ISSN: 2056-7790 (Print) 2054-4170 (Online) Journal homepage: https://www.tandfonline.com/loi/rfst20

The Yoga of Acting: “Building The Charismatic

Body”

Deepak Verma

To cite this article: Deepak Verma (2018) The Yoga of Acting: “Building The Charismatic Body”,
Stanislavski Studies, 6:1, 91-104, DOI: 10.1080/20567790.2018.1446273

To link to this article: https://doi.org/10.1080/20567790.2018.1446273

Published online: 08 Apr 2018.

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Stanislavski Studies, 2018
VOL. 6, NO. 1, 91–104
https://doi.org/10.1080/20567790.2018.1446273

The Yoga of Acting: “Building The Charismatic Body”

Deepak Vermaa,b
a
UEL:Arts & Digital Industries, London, UK; bStanislavski Centre, Rose Bruford College, Kent, UK

ABSTRACT KEYWORDS
In my research, I am developing an actor training methodology called Acting; Yoga; Chakra; Aura;
“The Yoga of Acting” which combines Stanislavski’s “System” with Kriyas energy centres; Physical
(dynamic movement), breath exercises and meditations from Yogic Actions; Charismatic Body;
philosophy and practice for application in theatrical realism, My research Kriyas; Mantra; Charismatic
Actor
aims to explore and investigate possible areas of confluence between
the two methodologies to develop a “toolbox” for use in the Actor’s work.
The Yoga of acting allows the actor to experience the “truth” of
their own personal physical, mental, and breath state. As Stanislavski
stated: “It is necessary to feel this truth at all times...to develop one
sensitivity to truth....I speak of the truth of emotions, of the truth of
inner creative urges, which strain forward to find expression, of the
truth of bodily and physical perceptions. I am not interested in a truth
that is outside me. What is important to me is the truth in me.”
The Yoga of Acting is aimed to be a bridge to connect the actor
emotionally, in Stanislavski’s words: to the “spirit within” and the “inner
spirit throughout.” I am applying the practice of Kundalini Yoga, which
is a dynamic movement-based Yoga focusing on Chakric energy and
breathwork, in the creation of this methodology.
This paper is focused on work which was undertaken at a workshop
I delivered at DAMU in Prague, in March 2017.

Referencing Sources for this article

I am using Stanislavski’s own writings (An Actor Prepares (1986), and Building a Character
(1992), in the translations by Elizabeth Reynolds Hapgood). This article contains exam-
ples from the work of Eugenio Barba and Philip Zarilli who have written extensively on
the psychophysical and intercultural experience within theatre. I have also used instances
from Grotowski’s Towards a Poor Theatre, as his experience in India and in Yoga, spe-
cifically with breathwork and meditation, offers valuable nuanced insights and will be a
source for further exploration. I have also used Anodea Judith’s Eastern Body, Western
Mind, as her very detailed analysis of the Chakra system in Yoga will be a foundation
for my work.

CONTACT  Deepak Verma  mrverma@outlook.com

© 2018 Informa UK Limited, trading as Taylor & Francis Group
92   D. VERMA

The Yoga of Acting – an overview

Stanislavski began to experiment with Yoga in his early work basing his studies on the
work Hatha Yoga and Raja Yoga, by Swami Ramacharaka (1916). The Yoga of Acting
merges the two methodologies of Stanislavski’s Method of Physical Actions and Yogic
practice to offer a “toolkit,” which can be a development of existing actor training and
practice.
My research aims to explore various psycho-physical paths to the “experiencing” of
character which Stanislavski recognizes: “without experiencing a role there can be no art
in it.” 1 Stanislavski also placed great emphasis on self-communion, and connection with
self as the actor must “Learn to prize that inner communion because it is one of the most
important sources of action.”2
The focus of the methodology is to explore the idea of “Perezhevenie,” or deep experi-
encing and self-communion through these Chakras to apply them to acting. Stanislavski
also called this “re-incarnation” of the role.3
The route to enable experiencing that I am suggesting is based on the structure of
the Chakras, which in Yoga are the seven dynamic energy centres of the body that have
varying modulations and are connected to the endocrinal system. “These endocrine
glands are all positioned at the traditional points of the chakras and their functions
are remarkably equivalent to the traditional descriptions of the chakra functions.”4
The endocrinal system excretes hormones which give us the appropriate drives, urges,
and impulses in our human experience. In an effort to harness what Stanislavski called
“native gifts,” the actor centres all their spiritual and physical nature on the soul of
what is happening in the character.5 These endocrinal modulations via the Chakras
can be utilized by the actor in their work. The seven Chakras all combine to give the
individual the eighth Chakra, also known as the “Aura.” I am suggesting that the actor
can experience these portholes of energetic movement and modulate them for appli-
cation in their work.
My work is based on the understanding that Stanislavski’s system was influenced by Yogic
roots and this can be demonstrated by the original drawing by Stanislavski himself. He was
aware of these energy centres: “we have three impelling movers in our psychic life, three
masters who play on the instrument of our souls … mind … will … feeling.”6 My research
aims to explore these “impelling movers” of energy and allow the actor to self-experience
them and to apply them to their work. In the drawing, “Mind, Will and Feeling … are
clearly likened to the chakras of Man and act as some kind of ‘actor’s chakras’, the sources
of an actor’s energy.”7
 STANISLAVSKI STUDIES   93

Figure 1. This figure is a confluence of: Stanislavski’s Plan of Experiencing (Carnicke, Stanislavsky in Focus,
123. The English translation of Stanislavski’s Russian terms was taken from online link: https://en.wikipedia.
org/wiki/Stanislavski%27s_system) and Chakric Plan of Experiencing (by the author of this article).

In the diagram above, I have outlined the position of the eight Chakras, using Anodea
Judith’s research,8 and further suggestions of confluence (my focus for further research)
with Stanislavski’s own plan of experiencing:
94   D. VERMA

(1) The first Root Chakra is understood to be the base of the Chakra system. Stanislavski
has called this area “active dynamism” and “Pushkin’s aphorism,” also known as
“Given Circumstances”; The foundational Chakra. In the Yoga of Acting this can
also apply to the actor’s own personal energetic given Chakric circumstances or state.
(2) “Mind” is drawn in the area of the second Creative Chakra, and can be considered
to travel along the Sushumna, or spiritual spine. Mind has connection with all of
the Chakras and indeed the entire body. The work on all of the Chakras connects
the body with the Mind.
(3) The third centre, also known as the Navel centre is known to be the seat of personal
power. Stanislavski has called this “Will.”
(4) The fourth Chakra or Heart Centre has been described as “Feeling” by Stanislavski.
In Yoga, it is also the seat of connection and communion with self and others. Roney
suggests that this Chakra is concerned with “will and feeling.”9
(5) The fifth chakra or communication centre comes at the convergence at the area
of the throat.
(6) The intuition centre is at the centre of the forehead and is known as the third eye.
I have added this in the diagram. The “Magic if ” could be deemed to be “seated”
here. Imagination, meditation, and visualization is often focused on the third eye
point to “look inwards.” “Imagination constitutes a major petal (experience) in the
sixth Chakra.”10 Roney suggest that this is the “command Chakra.”11
(7) The seventh Chakra is the connection with the universal and “supreme conscious-
ness.” This can also be regarded as a channel for “Supreme Consciousness.”12
(8) The eight Chakra, is the concomitant Chakra, which encompasses the seven
Chakras and their qualities to give the person their “Aura,” or Charisma.
Workings of all the Chakras pertaining to the actor are known as the “Charismatic Body.”
(9) The left side relates to the internal experience of the individual, also known as the
Ida Channel. Stanislavski calls it “Experiencing.”
(10) The right Channel is the “Manifestation,” outward channel, also known as the
Pingala Channel. Stanislavski calls it “Embodiment.” Relationship of inner expe-
rience with outer action.
The connection between the conscious and the unconscious, the physical and the psy-
chological, external stimuli and internal drives, impulses and urges are all central to the
Yogic experience, as well as being the foci for Stanislavski’s work.
Stanislavski saw acting as a “holistic, integral psycho-physiological-physical process.”13
The Yoga of Acting develops this dynamic integration further to include the Chakras as a
“psycho-physiological-physical” foundational resource for insights.

The Charismatic Body and Charismatic Actor

The Yoga of Acting is a working embodied practice which the actor can use to deepen their
experience of the theatrical “truth,” through the prism of their own experience using the
system of the “Chakra” energy centres. I am naming this confluence of self, character and
Chakras the “Charismatic Body.”
The Yoga of Acting contains tools which allow the actor to experience and build their
Charismatic Body, in order to develop their practice as a Charismatic Actor. The Charismatic
Body is a system which uses the Yogic system of the seven energy centres, known as “Chakras,”
and their varying energetic modalities. I have used the term “Charismatic” to denote the
 STANISLAVSKI STUDIES   95

Aura (Eighth Chakra) in dynamic action and its being subject to modulation. The Aura is
known to be the concomitant, resultant,14 energetic experience of the previous seven Chakras.
The Charismatic Actor bases their approach on Yogic energetic experience through
the Chakras, with internationalized breath-work and with Dynamic Movement exercises,
known as Kriyas. The Charismatic Actor explores the energetic state of the character, that
of themselves and uses any useful insights within their physical, energetic, or breath state,
to embody the character by constantly approaching the practice of acting using a “double
consciousness.”15 This “double consciousness” allows them to have an awareness of them-
selves as “Actor,” and themselves as “Character.” The actor “emerges fully from within,”16 to
allow a merging with the character through text, movement, breath, and sound.

Workshop at DAMU
Introduction to The Yoga of Acting and the Charismatic Body
The workshop at DAMU, was an introduction to the concept of Chakras, dynamic movement
(Kriyas), intentionalised breath workand working with sound current (Mantra). “The Chakra
system is a map for...(a journey of individuation and awakening).....With this map in hand,
your journey can be more direct, more profound, and more deliberate”. (Judith, 2004 , p. 9)
In this workshop, the actors experienced movement of energy via the physical body, using
dynamic repeated movement (Kriyas). The Kriyas have the three components which are
Mudras (hand positions), Drishti (eye positions), and Pranayama (Breath cycles with vari-
ous rhythms and degrees of breath suspension or “Kumbak” (the “retention or holding the
breath, a state where there is no inhalation or exhalation.”17 The physical Kriya movements
are powered by intentional breathing techniques to spread Prana, (life force energy), into
the mind–body system. “I have read what the Hindus say … They believe in the existence
of a kind of vital energy called Prana, which gives life to our body.”18
The dynamic movements and intentionalized breath-work aligns with and is further
activated by Mantras, or sound current, and allows the individual to fully experience the
energetic Chakric (pertaining to the Chakra system) gestalt through their own sound cur-
rent and to connect with others around them; the sound becomes the emotional antennae.19
The workshop placed a strong emphasis on the practice of self-development or “drill” as
Stanislavski called it, by not just working on the technical requirements of being an actor, such
as posture and voice, but the more subtle aspects and modulations, such as breath-work and
meditation work with Mantra. This could help the actor to build “a child-like naivety and trust-
fulness, and an artistic sensitiveness for truth and verisimilitude both in his body and soul.”20
In the Yoga of Acting, the actor is constantly tuning in to their deeper energetic system
through the breath. In the Yogic system this is called Prana or the “spirit within.”21 The
key component of the work of the Yoga of Acting is to allow experience of the Pranic flow
within the Chakra system. This enables the actor to focus on the energetic system of self
and eventually merge into the role which they are attempting to embody.

The Chakric Drill exercises explored within the DAMU workshop

“Self Communion” … “How can I address myself? … Should one speak to his brain, his
heart, his imagination, his hands, his feet?”22
The aim of the “Chakric Drill” workshop was to develop the actors’ knowledge and
experience of the Chakric system and how to modulate Chakric embodiment within the
96   D. VERMA

system. Through the practice, the actors could additionally discover, through experience,
their strengths, and the useful, flowing elements within the Chakra system. Areas in the
Chakric system which are flowing easier than others may also give insights into other areas
which are deemed to be “imbalanced.” (Please see Chakric Active Analysis Chart, Figure 2,
below for further examples.)
The physical dynamic movements (Kriyas) and breath work explored in this workshop
all combined to give the actor experience of their own Chakra system how to embody it,
and ultimately prepare them to experience the final Mantra meditation (Sat Ta Na Ma
Mantra Chanting). In doing this, they experience connecting freely and deeply with their
Charismatic Body, and connecting with each other in a creative communion via Prana or
“invisible currents.”23 This enhances the actors’ capacity to be sensitively attuned to them-
selves and their fellow actors, which is essentially, according to Stanislavski’s Method of
Physical Actions, “self communion” and “communion” with others.

Self – Pranic Scan

Stanislavski explored the idea of “Prana” or life force, which flows into all areas of the body.
In all of these drill exercises, the first step was to capture the natural state of the Pranic
energy of the individual at the beginning of the workshop, in order for the individual to
connect with their Pranic breath experience. The actor has no specific outcome-related
directive except to experience the life force flowing in the Pranic body and its change agent:
the breath. I asked the participants to breathe deeply experiencing every inhale and exhale
in each exercise. I asked them to notice what’s going on physically, emotionally, energeti-
cally, and their breath. I brought their focus to points in their body where they experienced
tension, discomfort, or pain. The aim of this was to allow a relaxation and release through
the breath in to those areas.

“Pratyahar” – the power of integrating silence

After each exercise I returned to the awareness on breath and “silence.” The power of silence,
without any focus on an outcome, simply to experience it. This allows the actor space to
integrate any breath or phenomenological experience with their innate “nature.” In Yoga
this is called the “Pratyahar.” This activates the Prana.
This silence can be unusual for the actor, whose instinctive focus is constantly on action
and doing. The actor has to “do” and it is rare for them to have space to “feel.” “… if for
several moments the actor does absolutely nothing, this external silence begins and it turns
his entire nature toward its resources.”24
In the Yoga of Acting, the resources which the actor’s entire nature is turning to are the
Chakras and the breath (Prana). Through concentration of attention into the Chakra cen-
tres, the actor can see their internal state anew. The drill exercises resulted in a final group
exercise, combining Mantra, Meditation, and Kriya.

Mantra Chant
The Chant “Sa Ta Na Ma,” also known as the “Mahan Jap.” The chant: First as a whole group,
then in a spontaneous impulse individually, and finally, with arms alternately extended in
a forceful forward push out, hands open, palms up.
 STANISLAVSKI STUDIES   97

This is a group chanting and dynamic movement exercise. The aim is to hear your voice
within the voice of the group and to merge with the group whilst maintaining the integrity
of your own internal rhythmic intelligence. The single actor connects with the team and
company. The exercise builds together in its rhythm and sound vibration.

Chanting and the Vocal fantasy of the actor

As Eugenio Barba observed in group exercise in his own work within the realm of psy-
cho-physical theatre and Eastern influenced theatre: “The aim is to preserve the spontaneous
organic reactions of the voice and at the same time to stimulate the individual vocal fantasy
of each actor … Like an invisible hand, the voice extends out from our body and acts, and
our entire body lives and participates in this action.”25 The Mantra and chanting is the
“invisible hand” which the actor can utilize as part of self communion and this can gently
meld into the Mantric consciousness of the group. The actor can merge with their group
as a spiritual entity through the sound current of “Sa Ta Na Ma”. This merging is a further
example of Stanislavski’s “self-communion” and “communion” in action.

Insights and future research

This section sets out the key findings and insights from participants in the workshop and
how the “Yoga of Acting” research could be developed to practically help actors in their work.
These were the main questions I wanted to ask the participants: Had I managed to convey
my aims? Were my objectives clear in the practice I had offered in the workshop? Did it
make any sense? Was it/could it be helpful to aid an actor’s work? If so, how? These were
simple questions I asked some participants after the workshop.
In the post workshop conversations, actors felt that this was a useful introduction to
the Chakra system, and they were keen to explore how it could help them in rehearsal and
performance and what my plans were for further work.
An actor gave feedback that the breath work which they had experienced in trainings or
classes was mainly involved with diaphragmatic breathing in order to be able to “project,”
and that using breath as a “meditation when performing” was something that could help with
stage fright and issues of any performance anxiety. An actor also reported a “deeper under-
standing of myself … through the (elimination) … breath exercise.” This exercise consisted
of a strong navel panting breath with the mouth open, and the arms held in front, with both
hands interlinked. Eyes were closed, and the participants asked to focus on third eye point.
The breath, as change agent, can allow a deeper concentration of attention, a connection
with the actor’s given circumstances, as it focuses on their immediate space and surround-
ings, and the people within it. “… the actor should be able to decipher all the problems
of his body which are accessible to him – he should know how to direct the air to those
parts of the body where the sound can be created and.”26 This breath can spark the actor’s
imagination, and it can also, when focused into the navel region, allow a stronger sense of
“self ” (In Stanislavski’s diagram he calls it “Will”) whilst being in perezhevenie, and second
embodiment. This breath is the dynamic power of the Charismatic Body. This breath is
a tool for self-deciphering the inner workings of the Chakras from moment to moment.
The Kriyas and meditations can take the actor to an extreme experience of themselves.
Once the “trance” occurs then the physical movement, the breath pattern and the vocal
release through mantra, can carry the actor to their own exploration of the “spiritual lug-
gage” of oneself.27
98   D. VERMA

A particularly useful insight gained for potential future research and exploration from
this workshop was when the actors were doing the “hoo-la” exercise.
From a position on rock pose (sitting on the knees), with palms on the chest centre, the
actor raises himself up, opening up both of the arms to either side, with hands fully open,
pushing the chest out, and chanting “hoo,” an elongated sound. I instructed them to smile
when chanting and to think of an “open heart.” The actor then reverts to rock pose, bringing
their hands back to their chest chanting “La.” This exercise was focused to give an experi-
ence of the Fourth Chakra, which Stanislavski calls “Feeling” in his diagram (Figure 1). In
post-workshop discussion with an actor they said: “After this hoo-la exercise I definitely felt
more open, more relaxed, as the exercise went on, and feelings of openness. … my chest and
ribcage opened wider … my throat felt looser … I wanted to do this exercise for longer …
I felt the ‘Love’.” This same actor, who was studying at DAMU suggested that this exercise
would be useful “if I was playing Romeo …”. The idea of using a moving meditation for
character analysis is something which will be explored in future workshops.
Another actor reported “feeling more connection in the body than in the head,” and
“having more space in my head, so that I can breathe freely and feel the moment.” This is an
example of the “harmonious co-operation of the inner forces,” that Stanislavski was aiming
for in his work.28 The idea of “surrender, relaxation and release and openness to creativity”
was also reported. He added that the Kriyas and meditations in the workshop helped him to
“breathe deeper” and in doing so move in a “freer way,” especially in the spine and chest area.
An actress from DAMU felt that the capacity of the breath to be a change agent for emotion
could help her “to be in the moment more” when she was acting and not “in the past” trying
to “work out a past emotional memory.” This meant she would be less “stressed out” about
the approach to her work. She felt that the exercises which she had experienced were the
“beginning” of a process. She also felt a natural urge to take the experience of “glow” and
“release and openness,” into the further work of character creation and embodiment. She
expressed that she found it “hardest to connect with characters that have the exact opposite
drivers and traits as me,” and that “what was missing is to find a way to get into their skin,
to impersonate their ‘engine’, to wake up the parts that really motivate them.” Working on
the Chakra system as a reference and foundation for character exploration could allow her
to “understand this is coming from a different part of the body.” She also felt that could use
herself “as a canvas” from which to paint the character “on top.”
One of the academic participants said that I had “got away with it.” I had managed to take
the actors, academics, and practitioners on the journey of the Chakras and convey my ideas
of using the Chakra system in the actor’s work. He also said that he could see how using the
“dominant chakras” could be useful in character work. These examples show that insights
into confluence and divergence in the Chakric body between and actor and character can
be very useful for embodied exploration. The next stage in my research will be to explore
the idea of Active Chakric Analysis.

The next stage of my research

Active Chakric Analysis – through the Charismatic Body – actor meets character
Through Active Chakric Analysis, the actor can connect physically with the embodiment of
a character, by connecting and exploring the Chakric strengths or flaws of both actor and
character. The actor can apply the Chakric Active Analysis questions and the Chakra chart
below (Figure 2) to explore this in depth and allow for deeper exploration.
 STANISLAVSKI STUDIES   99

Figure 2. Chakric Analysis Chart by Deepak Verma and Dr. Sally Jones.

Future workshops will have the aim of exploring the efficacy and usefulness of Yoga and
the Chakras as an acting methodology for actors. The practical application of “The Yoga of
Acting” and how to put it into working practice on the rehearsal floor will be the focus for
research for the next workshops. How does the actor use the Chakric Analysis themselves?
How does the director use these questions when working with the actor? These are the
questions which were mostly asked by participants in post-workshop discussions. I intend
to explore these in detail through future practice and discussion.
100   D. VERMA

In the Yoga of Acting, acting is treated as a meditation, that allows more choices, potential,
and creative openness in the actors’ approach. The emotional landscape becomes broader
because you are operating from the primacy of feeling and experience. Stanislavski’s idea
of concentration of attention is in line with and similar to the yogic idea of meditation,
or “dharan” (a specific point of focus) and “dhyan” (continued focus). Therefore, the actor
can have the space, in this practice to focus on the internal experience of their mind and
body through the breath (spirit). This is the primary objective for the Charismatic Actor.
It is aimed to be a practice which offers a workable system associated with approach-
ing the process of “becoming” a character and connecting with one’s “Real I.”29 Through
the practice one can make subtle adjustments, change focus, adjust mental, physical, and
spiritual states of experiencing for performance. With every breath and physical repetition,
the individual is creating new lessons and habits for the unconscious mind.
The exploration of energetic modulations using the Chakras as a base is paramount in the
approach to character. The Yoga of Acting is about deep experiencing of self, the experienc-
ing of character and the concomitant merging point, the Charismatic Body. The symbiotic
convergence of actor and character through Chakric insight creates a fertile landscape for
the actor to explore their work. The tool for this exploration is the Chakric Active Analysis.
This Chakric Analysis Chart is a first attempt to explore the possible qualities of the Chakras
and their different states of balance and imbalance, and the correlating possible physical
outcomes. It is based on Anodea Judith’s work Eastern Body, Western Mind, which details
each Chakra and its physiological and psychological links and confluences. Judith’s work
also explores the affects of the Chakras on behaviour and action, which can be very pertinent
and useful to acting phenomenology and an actor’s work. The Chakric Active Analysis is
completed by exploring the diagnostic chart, outlined in Figure 2.
This chart can be used for physical and experiential exploration:
(1) Primarily using the actors’ experiences through their own personal mode of
Chakric experiencing.
(2) The Character’s mode of Chakric experience as interpreted by the actor.
(3) Exploration of the convergence and divergence of the above. The “double con-
sciousness” and merging of both actor and character.
The Active Chakric Analysis tools are a key part of this system to enable the Charismatic
Actor to continually embody and experience (Stanislavski – “Perezhevnie”) the “double
consciousness.”30 This “Charismatic Body” is the confluence of the mode of experiencing
between Actor and Character. The Active Chakric Analysis also suffuses and merges the
experience of the “physical and spiritual.”
The actors, director or workshop leader may also use the table above as reference for
physical active exploration, discussion, and interweaving for use in their active analysis.
They may use this by giving or receiving verbal cues (referring to the chart) or studying the
Chakric system in advance of rehearsals, so that it is natural for them to discern Chakric
states, allowing them to be physically free to experience the exercises. This chart will be
developed through further practice as research. The practical application of how chakra
charts can be used in rehearsal and performance is something which will be researched
and evaluated in future workshops. The aim is that the actor becomes deeply aware of the
qualities of the Chakras and their potential qualities and modalities so that they are phys-
ically free to experience the exercises. I will develop the following exercises for the next
 STANISLAVSKI STUDIES   101

set of explorations in my workshops. This is an outline of the exercises in an early stage of

development.

Pranic Etudes, Mantric Gesture, Chakra Machine, and Chakra Bridging (the
overarching tool for actors to merge with character)
All of these exercises will be underpinned with the following question:
“How can this methodology be used to maximum effect in an actor’s work?” The actors
will be invited to explore this and make suggestions as the practice develops. The actors
will be given a forum for discussion after each exercises or session.

Chakric Bridging
Using the Active Chakric Analysis questions outlined in the table above, the actor uses
insights into similarities and disparities between their personal energetic experience and
the experience, as they have interpreted it, of the character.
Their personal feedback to the questions forms the foundation for their Chakric Active
experience in the following exercises.

Pranic Etudes – active energetic exploration

This exercise allows the actor to walk in the space and only relate with the others through
breath patterns and “breath conversation” and with a focus on the Chakric workings. Rather
like Stanislavski’s etudes, the directive will be energetically based and change (via the direc-
tor or workshop leaders’ instructions) as the dynamic energy of the group and interactions
change.

Mantric Posture
Inspired by Chekov’s psychological gesture, the Actor adds a “Mantra,” a line, a word or
sentence which conveys their current Chakric state within the previous etude. The actor
will also add a relevant breath pattern to their current experience. This line is repeated and
the process allows the actor to develop and improvise around the “Mantra.” The actor adds
a unique physical Kriya, or movement which explores and conveys the Chakric experience,
as they see it. This Kriya is their own creation in that exercise pertaining to the Chakric
Analysis questions. This is then taken into the next exercise:

Chakra Machine
Once the insights are revealed from the etudes and the Mantric Posture, then the group
can move onto the Chakra Machine.
The actors have a base point for their practice: You must have a rhythm, sound, move-
ment, connection (with at least one other), and a goal, or aim, as a machine. The machine
as a whole must achieve something. This could be a macro rhythm, sound, or movement
where there is a clear purpose. In previous machines, the end result could change as the
actors were so deeply connected through sound, rhythm, movement, and physical touch,
that the aim of the machine changed organically. Each actor in a company can create a “cog”
in a machine and experience their own purpose within the whole machine. The Chakra
Machine expands the actors’ awareness of space, others, rhythm, sound, action, and given
102   D. VERMA

circumstance. The aim of the exercise is to create a connection between the individual and
the group without losing your energetic essence.

Conclusion
The Yoga of Acting is exploring Yoga as a tool for acting, and as such the landscape is vast,
and my work in this research is to hone, refine and “edit” aspects of Yoga which are useful
for embodiment and perezhevenie. My aim is that my ongoing research will assist the actor to
develop and fine tune their craft using the primacy of deep connection with self to connect
with their work and character.
My research was inspired by Kundalini Yoga, which is an embodied practice with a focus
on Mantra and Pranayama. I saw results in my own approach, personal practice work and
wanted to teach actors what I had experienced. The Actors’ Centre workshops allowed me
a space and facility to explore my work, allowing me to hone and define in detail, my work,
and how I could realistically offer this as a practical additional methodology for actors keen
to deepen their understanding of realistic acting.
Schechner states that, “Each culture has its own way of encoding, using, contexting and
making into art, the multi channelled systems of non verbal, para-verbal expressions,”31 and
the Chakras allow a unique, synthesis, and proven technology, mostly unknown to actors.
The Chakras, as a map of human experience allow this non-verbal (through the change
agent of breath) and para-verbal experience. They allow the actor to identify aspects and
modulations of experience which are usually beyond description and palpability.
Every “feeling” or “emotion,” has at its core a physiological root and base, and from that
foundation the kindling of change and transformation begins. Each Chakra has sparks of
impulse to connect with the other Chakra energy points, and the desire to connect and
unite, in “Yog,” a deep union. This Yoga of acting attempts to coalesce and homogenize
these ever-changing, floating impulses of energetic exigency to incorporate into an ever
changing experiential whole.
The Yoga of Acting requests the actor to be in “trance,” “self penetrate,” and “to lay bare
that which is not intended for the world.”32 This work allows the actor to go on a journey
of self but takes them out of an existing “mode of experiencing” to a new enlivened mode
where other possibilities exist when approaching their creative work. It can loosen rigid
thinking and allow new insights to develop through this clarity and neutral mind. The Yoga
of acting allows the actor to “accomplish ‘an act of the soul’ by means of his own organism.”33
Stanislavski recalled that his assistant Sulerzhitsky dreamed that together they would
“create some kind of spiritual order of actors.”34 In this workshop, an actor stated that she
could glimpse the possibilities of the “spirit” of the character. The Yoga of Acting is also in
the same pursuit, where the actor primarily goes to their spiritual experience and then the
psycho-physical, through the Chakric energy centres.
In essence the Yoga of Acting is a psycho-physio-prano-chakro-spiritual practice. It con-
nects mind, body, life force, the Chakric body, and the breath body for a deeper human/
actor experience to assist in the creation and development of a more effective realistic actor.

Notes
Stanislavski, Building a Character, 275
1. 
 STANISLAVSKI STUDIES   103

2.  Stanislavsky, An Actor Prepares, 205.

3.  Stanislavski, Building a Character, 30.
4.  Roney, The Psychophysiology of the Chakra System.
5.  Stanislavski, An Actor Prepares, 27.
6.  Ibid., 247.
7.  Tcherkasski, Stanislavsky and Yoga, 77.
8.  Judith, Eastern Body, Western Mind.
9.  See note 4 above.
10. Judith, Eastern Body, Western Mind, 379.
11. See note 4 above.
12. Bhajan, Kundalini Teacher Training.
13. Tcherkasski, Stanislavsky and Yoga, 81.
14. Carnicke, Stanislavsky in Focus, 124.
15. Zarrilli, Acting (Re)considered, 79.
16. Grotowski, Towards a Poor Theatre.
17. Iyengar, Light on Yoga, 42.
18. Stanislavski, An Actor Prepares, 198.
19. Ibid., 199.
20. Magarshack, 1961, 23.
21. Stanislavski, An Actor Prepares, 200.
22. Ibid., 198.
23. Ibid., 212.
24. Grotowski, Towards a Poor Theatre, 207.
25. Barba, Solitude, Craft, Revolt, 74.
26. Grotowski, Towards a Poor Theatre, 35.
27. Magarshack, 1961, 22.
28. Stanislavski, An Actor Prepares, 269.
29. Benedetti, Stanislavski and the Actor, 3; and Ramacharaka, Hatha Yoga, 74.
30. Zarrilli, Acting (Re)considered, 79.
31. Schechner, Performance Theory, 306.
32. Grotowski, Towards a Poor Theatre, 35.
33. Ibid., 213.
34. Tcherkasski, Stanislavsky and Yoga, 35.

Acknowledgement
Deepak Verma would like to thank Professor Paul Fryer, Head of the Stanislavski Centre and Associate
Director of Research at Rose Bruford College and Dr Dominic Hingorani, Reader in Theatre and
Performance at the University of East London, for their support in the creation of this article.

Disclosure statement
No potential conflict of interest was reported by the author.

Notes on contributor
Deepak Verma is undertaking a Mphil/PhD research project “The Yoga of Acting”, in collaboration
between Rose Bruford College and UEL. The research aims to develop and research ways to pro-
vide an accessible “toolbox” for actors, using Dynamic Movement (Kriyas), Meditation and Mantra.
Deepak Verma is an actor, writer and producer. Deepak has trained as a Kundalini Yoga trainer in
Los Angeles with Nine Treasures Yoga, and runs regular workshops for actors and practitioners
working in the Arts.
104   D. VERMA

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