Too, Too Solid Flesh: Massage Therapy as an Effective Intervention in Actor-Training and Performance

Abstract

Too, Too Solid Flesh: Massage Therapy as an Effective Intervention in Actor-Training and Performance Joel G. Fink Introduction The American theatre demands of its artists an extraordinary diversity of skills, covering an international range of form and content. In an attempt to realize existing potential and to develop new directions for growth in contemporary American theatre, certain theatres and theatre-training institutions, as well as individual teachers are actively exploring various models of nurturing environments for actor-training. In the area of movement studies, the past decades have seen an enormous expansion of actor-training beyond the traditional courses in dance and fencing. Today, it is not unusual to see course work in Alexander Technique, T'ai Chi, or Feldenkrais Lessons, as well as other methods of movement analysis and physical reeducation. This same variety and eclecticism can also be seen in vocal training, as well as work on emotional technique. Although often different in their specific approaches, most significant actor-training programs have as a goal of training, the development of the actor's personal resources into an artistic medium for the specialized communication of theatre. At both the university and the professional levels, educators and artists ask the same basic question: "How is the actor's capacity to respond to stimuli, through the mind, the emotions, the voice, and the body, influenced either favorably or unfavorably by traditional or experimental training techniques?" My experience, as both a theatre teacher and practitioner has led me to the conclusion that we often present young actors with an abundance of craft elements without adequately preparing a structure on which these can be usefully and effectively developed. In theatre education, as in all educational situations, without a learning of general principles and underlying structures, no significant and long-term learning is possible. Without such learning, actor "training" is reduced to little more than conditioned-responses, and denies the possibility of the artist as an active and responsible participant in the learning/ training process. In addition, almost all elements of civilized society work to deny emotional and intellectual expressiveness through our voices and bodies. Therefore, it is vital that we look at the essential underlying structures of the actor's craft, if we are to develop curricula that significantly affect the actor's art, and restore the birthright of "present-ness." The actor's body provides the matrix for this art and presence. 117 118 Joel G. Fink For almost twenty years I have been teaching various aspects of actor training. During that time I have worked and have observed other teachers working to integrate the varied components of acting in a way that results inboth a coherent process and product. First working intuitively, and then through research and experimentation, I found that one of the most effective and immediate means to both assess acting problems and to initiate change in an actor's working process is through that actor's body. Although this is a widely shared observation, it is disappointing that much of contemporary actor education and training still reflects a compartmentalization of craft elements that seems counterproductive to the objectives being pursued. From my point-of-view, anything labelled a "problem" in the work of the actor, is an acting problem, and must be dealt with in that context. Actors who can make expressive sounds in vocal classes, or move beautifully in physical classes, may not be able to transfer this ability into the demands of their acting studios or rehearsals. This is not to say that separate classes for separate elements of craft are not necessary. Certainly they are. It is, however, imperative that we, as teachers, find the means to make that transfer possible in the acting studio, as we encourage the integration of various craft elements into an effective (albeit highly flexible) working process. During the 1985-86 academic year, I took a sabbatical from full-time teaching in order to study massage therapy and to explore its potential as a technique for actor-training. Having taught various aspects of movement for actors, I wanted to systematically study human anatomy, physiology, and pathology from a practical and medically-oriented perspective. Based on my study and practice...