Indian Ensemble Movement [3'] [Mau’zmfil

Sunuortell II! the Indian Foundation for the Arts

A theoretical flamework designed tom the workshop explorations

 Contents

Chapter 1: Physical Preparation for the Actors (Riyaaz/Practicel

i. Warm Up Exercises - 2
ii.Awareness Exercises - 4
iii.Kalaripayattu - 3 '
. iv. Bharatanatyam - 5
v. Ballet - 8
vi. Contemporary Technique - 12
vii. Partner Work - 15 "
viii. Relaxation - 16

Chapter 2: Developing an expressive language using the body

i. Introduction - 18
“Understanding the body through geometry - 19
iii. Awareness of the Space - Outside -In Approach - 22
iv. Composition Exercises using Awareness Pointers — 25

Chapter 3: Exploring territories between Dance,Movement and Naturalism using text

i. Saste Jahaaz Ka Sapna by M.K.Mishra - 27

ii.l am Yusuf And This Is My Brother by Amir Nizar Zuabi - 28
iii. Karnabharam by Bhasa - 31
iv. Abhignanashakunatalam by Kalidas - 32
v. The Four Important Questions- 36

Additional Notes

Explorations with Lights & Projections over 3 weeks - 37

Index for movements - 43

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 Cha ter1

Riyaz or Ph ysica/ Preparation of an Actor

This chapter of the workbook deals with the daily physical preparation or riyaz of an actor,
developing a module for which was one of the central goals of Indian Ensemble’s Theatre Lab
(May 2015). It relies heavily on the movement bank compiled by our dancer-facilitators which
codifies, organizes and describes the various movements introduced and practised during
warm—up sessions in the lab under the respective forms/practices they were draWn from. The
purpose of this document is to reorganize the wealth of information provided by the movement
bank within the modular framework of the actor’s physical riyaz that emerged in the lab.

Form/Description: Warm up Exercises

*Please note: RL (Right Left); FB (FonNard Backward); UD (Up Down); CA (clockwise

anticlockwise)

Movements:

oStart with walking, slowly move into running, change directions - fonNard, backward,

sideways

oHead side to side, up and down, rotation RL and CA

0Move the shoulder FE and UD, elbows rotation FB, arms Rotation FB, hip rotation CA

oln Mandala position, lift the heel and drop. Stand with feet wide apart and then stretch on

one side all the way down to the floor, interlock the fingers and activate the centre as you

move from one side to the other. Repeat a few times.

OStart in push-up position; then take one leg after another to the palm (making the

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 movement continuous); single leg shuffle on the floor( starting in push-up position)

oJumps- short jumps, high jumps, ballet jumps (from first position 180 and 360 degree turns

RL). Always begin a jump with slightly bent knees and also land with soft knees.

oRoll down, walk your arms forward, come to a plank, walk your feet towards the hands,

roll up. Repeat and move from one side of the room to another

oRelaxed leg swings originating from the hip — front and back, then balance with leg straight

back off the floor and other leg slightly bent for support, upper body bent straight forward

oSurya Namaskar as warm up. Attention to breath; synchronize Inhalation and exhalation

with postures.

oPlanks: In this position keep your whole body activated and tense and hold for a minute

and then change to elbows and sides on hands. (planks on palm, forearm, single arm sides

RL)

oSide leg raises: Lie on your side, bend the leg beneath. Do 20 raises with the upper leg and

flexed foot; 20 with pointed foot. Also rotations of leg (clockwise and anticlockwise) from

the same position.

oLower ab exercise: Use a partner or a heavy chair, hold on and stretch. Join both the legs

together and lift them up together as a unit (just 45 degrees), while pulling your lower abs

in, and slowly bring down not touching the floor. Do 30 repetitions.

oWide squats: Stand with your legs at a distance wider than your hip, feet not parallel. Bend

your knees and squat. Do not stick hip out or bend upper body fonNard. Focus on pushing

the inner thighs outwards. Stay there for a minute.

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oArms: Sit or stand in a comfortable position, extend your arms to the side with palms

facing front. Flap your arms like wings from the shoulder blades (scapula). It will be FB

movement when palms face front or back and U0 movement when palms face up or down.

Function in Actor’s Physical Conditioning:

Exercises listed above build physical strength and stamina as well as enhance balance and

flexibility, helping to prepare the actor’s body for performance. They work with stillness as

well as movement. Choosing the optimal number and combination of movements from the

list while designing distinct daily modules of the riyaz is important.

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Form/Description: Awareness Exercises (with elements of improvisation)

Exercises:

1.Visualization Exercise: To become aware of the state one's body is in and connect with it.
Start by lying down on the floor with closed eyes. Scan your body from top of the head to the
toes, by observing how the weight is placed on the floor. Identify the emotion that you are
feeling at that moment and visualize this as a color. Let your body react in the form of
movement when you visualize the color flowing through your body. You can repeat the process
by replacing it with a different emotion that you feel at that time and observe the difference in
your body.

2.Name Writing: Choose five body parts: eg. head, shoulder, wrist, hip, side of torso. Use

them to write your name on any plane. The movement should be initiated with these parts

and rest of the body reacts.

3.Geometrical Shapes/ Patterns: Participants (in pairs) taken through a basic movement/dance
sequence. Partners then create shapes (mostly geometric) on the floor using chalk. Use their
bodies, space and props (floor, walls, rope, cloth, sticks) to recreate these shapes. Shapes
created are presented in conjunction with imagery and music (succession of images projected
on the wall in the background, guitar and percussion).