Page - body - performance: a journey into active analysis and how it helps the actor’s body learn

Abstract

ABSTRACTThis article examines my journey into the concepts and practice of Stanislavski-based Active Analysis from my initial encounter in writings, through the embodiment of practice during the S Word: A Practical Acting Laboratory, and finally through applying current cognitive science theories to see if and how they connect. I begin with my investigation into Stanislavski’s work and the general confusion between the Method of Physical Actions and Active Analysis, and the vague understanding of the technique created by various writings. The centre of the article delves into the enlightening experience of working with Sharon Carnicke at the S-Word symposium. The process of physically engaging in Active Analysis, analysing my own and others’ work, and then physicalizing again with such a gifted teacher, shed light on the process as never before. Using cognitive theories of learning and action, I then delve into why the physicalizations of the work brought so much enlightenment and why Active Analysis may work so well in general. By grounding Active Analysis in historical and theoretical writings, exploring it physically, and then connecting the body’s physical process to the analysis, this article gives further evidence of the efficacy of Active Analysis.