What is presence? Presence is to be with the self, consciously in the moment. To be aware of the impulses within , as well as the impulses from the outside. When we are present, time and space expands. It is our closest experience to timelessness. It is when the body, the human body, is in […]
How much of the way we move through life is chosen, and how much is habit? Not all habits are an issue. Some come from our hard-earned experience and truly serve our purpose. They support us, and there is value in recognising that. They become an issue when, without us realising it, they move us […]
PRESENCE IS: When I am listening to you, it is extremely important that I also listen to myself listening to you—to observe my own receiving of you. Why? Because I want to ensure an objective listening, rather than a one-dimensional listening filtered through my conditioning, reflexes, assumptions, or current mood. In this way, I am […]
When we take the time to be fully present and engaged in communication, we gain a deeper understanding of the speaker's perspective and the emotions underlying their message. By being aware of our own internal reactions and responses, we become more empathetic and responsive in our communication.
Engaging with trauma in a constructive manner requires a thoughtful approach. The objective is to attain performances that feel liberating while maintaining a compassionate awareness of the elements that resonate deeply. On a personal level, such mindfulness can be profoundly transformative, guiding individuals toward self-compassion and introspection. This process cultivates personal growth and resilience, enabling individuals to deliver exceptional performances.
Tarkovsky gives a lot of importance to his childhood, as he believes it’s the first and foremost source of inspiration for creativity. No wonder his first movie « Ivan’s Childhood » is such a masterpiece… also the power of innocence, naiveness, the figure of the child, is present in every movie he made.
Every actor’s inquiry is different: one might want to take bolder risks, another to embody their voice fully, another to explore the rawness of the emotions through the lens of the character or the freedom of impulses discovered through embodiment, or to perform an extended scene free of interruption to see where presence can guide them.
We then went to the Ancient Aptera Theatre, where each actor explored their scene. We experienced ten authentic presences, ten different stories, ten magnetic universes. All actors dove into each scene with such fun and ease, with a true sense of playfulness, regardless of the material.
Ownership at times felt like embodied presence through the language, and other times it was me landing into an idea about the line. An idea would be an action that I chose to embody or it was a physical choice, like leaning forward or changing position. My physical choices were always filled with intention, such as leaning forward to speak quietly or to put emphasis or be cheeky.