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The Suzuki method for training the bodyand voice of the actor

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, Suzuki, Ricardo Zeger (MFA, ProfessionalTheatre Training Programme, University of Delaware), Tadashi Suzuki (SPAC Shizuoka Performing Arts Company) . .

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The kind of training offered in mod-ern theatre schools and conservatoriesis not enough to be able to perform on astage and be called an actor.

Ironically, in ancient theatre tradi-tions there were no schools where onecould learn the craft of acting. Actorstrained and learned as they went along,often beginning with small roles, theywould bui ld up their experiencethroughout the years eventually gainingthe ability and skills to perform largerroles which required greater stamina,stage power and in-depth knowledge oftheir craft.

In our day and age that way of learn-ing the theatre craft is almost no longerseen, except for traditional forms of the-atre like Kabuki or Noh theatre in Japan,where the secrets and knowledge of theprofession are transmitted from genera-tion to generation and within membersof the same family.

Nowadays, especially in the westernworld, schools of theatre teach a pletho-ra of methods and offer diverse points ofview on what acting is or is not, focusingmore and more on theoretical practicesthat have nothing to do with the actualcore of theatre, which is performing infront of an audience.

Ever since the advent of psycho-analysis and the widespread assimilationof Freudian con-cepts into pop cul-ture, the theatrehas suffered anundeniable declineof quality. Directorsand actors have shifted their focus fromthe actual art of performing into a kindof psychological expertise of fictionalcharacters. In many acting classes it isnot unusual to hear long debates aboutthe motives and background of charac-ters in a play as students are encouragedto write long autobiographies of thecharacters they will portray. The amountof energy spent on this kind of activityoften surpasses the amount of time anactor spends on an actual stage creatingthe most important aspects of his role.

Ask any actor performing on anygiven show these days how many steps

he has to walk from the moment heenters the stage until the moment hiscue to sit down comes and chances arehe or she wont be able to answer.

Actors of the new generation arebecoming less and less aware of theirown body and voice that it s a wonderthey even remember their lines. Theyare often encouraged to improvisebased on the inner life of a character,and to put an emphasis on their emo-tions during their performance.

Whether a play is contemporary orclassic, regardless of style and direction,there must be a consistent way of beingon the stage. This way of being on thestage has been gradually substituted bythe theoretical, heady knowledge andemphasis on emotional life.

F irst and foremost an actor must beaware at all times of the most importantpart of a theatre performance. The audi-ence.

If there is no audience, there is notheatre. It s that simple. The audience iswatching everything that happens on thestage at all times.

Secondly, the actor s own body. Is it possible to give a piano concert

with a badly tuned guitar? This is what happens nowadays on

the stage. A person stands on a stageand blurts out some lines overfilled with

excitement and unnecessary energy andit is called theatre.

Actors must be aware of their ownbody while also being able to control itup to the finest nuanced detail. It is theactor s body that brings the play to life.

It is the actor s responsibi lity tomake sure the play gets created in theaudiences mind.

Unfortunately, most actors are notproperly prepared to do that.

The actor s voice is an expression ofthe body. It is not some disconnected

The Suzuki methofor training the body

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Finding the way

phenomenon, but the most direct con-nection to the actor s true art.

An actor on stage, more often thannot, must speak words written by some-body else and the only way to own themis by making them part of oneself, that isby making them part of the body. Afterall, what is voice but manipulated breathand vibration?

Words are invisible, and it is theactor s most crucial job to make theinvisible visible to an audience.

In the same way that a ballerinatrains everyday for hours on the bar, upto now there was no real concisemethod for physical training that couldprovide actors the same kind of knowl-edge and improvement of their owninstrument.

Tadashi Suzuki, without a doubt oneof the most revolutionary directors andtheatre makers of our age, was influ-enced by the traditional forms of theatreof his own culture as well as his ownexperience of western theatre. Hisunderstanding of the need for a concise,concrete method of training the actor sbody for the stage compelled him to cre-ate a series of exercises that provide justthat. These exercises are commonlyknown as the Suzuki method for actors(not to be confused with the Suzukimethod for learning music).

The fundamental axis on which themethod works is the knowledge of onesown center of gravity. As actors movetheir body on the stage they mustremain aware at all times of their centerof gravity. Maintaining this conscious-ness becomes more and more difficult asthey begin to move in more and morecomplex ways, expanding their con-sciousness beyond themselves and outinto the audience, the space, the otheractors, the music, the stage and all theother elements that make up a theatreperformance.

Another important element of thistraining method is the connection it cre-ates to the human beings animalisticenergy. In a world in which electronicand non-animalistic energy becomesmore and more common, the theatremight be the last place that can survivepurely on animalistic energy.

Imagine the actor stomping aroundthe stage rhythmically to music, keepingat all times a still but relaxed upperbody. The actor s torso appears to bemoving on a cart or dolly even thoughthe legs stomp the ground with greatvigor and intensity.

At the end of three minutes or so ofthis activity, the actor comes to a com-plete stop followed by a sudden, silentfall to the ground. Like a marionettewhose strings are suddenly cut, the bodycollapses and remains completelymotionless. There is now a change in themusic. A traditional Japanese flute playsin the background. The challenge to con-trol the breathing is a great one, fol-lowed only by the even greater chal-lenge of standing up and walking to theedge of the stage at a consistent speedmoving on one same line, keeping inmind the position and level of ones cen-ter.

Probably the most well known exer-cise of the Suzuki method, the stomping

is only one ofthe mostbasic notionsthat begin toput the actorin touch withthe funda-

mental sensibility required for the stage. In ordinary life one can run, but

there is a great difference between thatand the way a professional runner doesit. It is the same with an actor, in ordi-nary life we move and speak, but tospeak and walk on the stage requiressomething extraordinary. The Suzukimethod provides a way to understandingwhat that something is. And perhapseven make visible the otherwise invisibleline that separates an amateur from aprofessional on the stage.

hody and voice of the actor

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Grimal, P., ., 1991. -

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Exile is a dreadfulthing for one whoknows his placeRupert Everett Charles II

When you act,you can be seen

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Your own tutor did you a great disservice, Mr. Kynaston. [] He nevertaught you to suffer like a woman or love like a woman. He trapped a man

in womans form and left you there to die. I always hated you asDesdemona. You never fought. You just died beautifully. No woman would

ever die like that, no matter how much she loved. A woman would fight!Claire Danes Margaret Hughes/Mariah

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