Abstract
The purpose of this paper is to examine the training methods used by Western directors influenced by traditional Asian performing and martial arts to strengthen the presence of actors. Despite the differences in the ways the Barba and Zarrilli encountered, experienced and applied traditional Asian performing and martial arts, their view of ‘actor training’ is relatively similar. The directors remind us of the importance of training - the process of ‘self-definition’ - through which the actor corrects his/her wrong perception caused by the lack of control of the body. The training that strengthens the presence of an actor should be an ‘non-daily’ training as well as ‘psychophysical’ wherein the mind and body are organically integrated. The actor needs training that enables breathing to be organically integrated with ‘ki-energy’ rooted in the danjeon area and that encourages the development of the ‘dilated body’ through the actor’s projection of his/her energy enabled by his/her spatial ‘sensory awareness’.
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