Drama and Authentic Movement as Intercultural ... - GFL

More documents

Recommendations

Info

Marie Louise Blankemeyer 124 Drama and Authentic Movement as Intercultural Communication Skill Marie Louise Blankemeyer, Copenhagen The following article describes a workshop held at the international conference “Drama and Theatre in the Teaching and Learning of Language, Literature and Culture” at University College Cork, Ireland. Furthermore, it gives some background information about Authentic Movement and its leading practitioners, as well as outlining how it is practised. Finally, the article considers how the principles of Authentic Movement can be applied to intercultural communication. 1. Introduction How do people from different cultures engage with each other? How do you cope with something or somebody unknown, strange, new and different? One does not need to focus on two geographically and culturally widely disparate countries to encounter intercultural misunderstandings. Even when people from two neighbouring, e.g. European countries meet for the first time, they usually do so with certain preconceived ideas about each other. These ideas derive from a combination of shared historic experience, the traditions of previous generations, a differing awareness of the present, the perception of tourists from a particular neighbouring country, the presentation of that country in the media, and a variety of other things. Facing another culture, the other, is a complex process, and long before language even begins to come into play, we perceive the body language, manner and appearance of the person we are dealing with. These perceptions may be influenced positively or negatively by our preconceived ideas and notions about a particular country. More often than not, we seek to find them confirmed in the other (person), and this fact in itself tends to counteract or, indeed, prevent any form of open-minded communication. Our workshop "Drama as intercultural communication skill. How to face the other" was intended to offer strategies which may help to create an atmosphere favourable to intercultural encounters. On the one hand, this workshop was based on didactic theatrical © gfl-journal, No. 1/2004
Drama and Authentic Movement as Intercultural Communication Skill 125 methods which have their origins in the work of such people as Stanislawski, Grotowski, Boal, Brook, and Mnouchkine. 1 On the other hand, the workshop drew some of its inspiration from the discipline of Authentic Movement, which originated in the field (and from the experience) of Modern Dance and is employed in the context of dance therapy as well as the performing arts. 2 It is also a discipline with potential for furthering the cause of intercultural encounters. It was above all the Authentic Movement principle of nonjudgmental observation or witnessing that was used for this workshop. The first part of the workshop focused on working at a pre-linguistic level, in an attempt to approach and tackle the following two questions: 1) How do I face the other in an unbiased way? 2) How do I deal with the other, with what is new and unfamiliar? Using drama exercises and principles from Authentic Movement, the workshop was designed to develop a number of suggestions for an unprejudiced form of making contact. 2. Authentic Movement The workshop centred on the methods of Authentic Movement which I describe below. In so doing I intend to outline the interrelationship between the practice of Authentic Movement and intercultural skills. 2.1 Background The practice of Authentic Movement was initiated and named in the 1950s by the dancer Mary Starks Whitehouse and is continually in the process of being developed and articulated. Two other women have made a significant contribution to the formation of the art of Authentic Movement: Janet Adler and Joan Chodorow. 1 Broadly speaking, all theatre directors referred to here have dealt with intercultural theatre forms. For further reading, see titles by Boal, Brook, Féral, Grotowski, Oida (Original title: “Hyoryu-Hyoru”, in which this Japanese actor describes the intercultural theatre experience derived from Brook´s (stage) work), Stanislawski. © gfl-journal, No. 1/2004
Page 1: Drama and Authentic Movement as Int
Page 5 and 6: Drama and Authentic Movement as Int
Page 11: Drama and Authentic Movement as Int

Drama and Authentic Movement as Intercultural ... - GFL

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?