Sixth International Conference

on

Consciousness, Theatre, Literature and the Arts

June 10-12,  New York, USA

 

Speakers and Performers

 

Marc Silberschatz, University of Sunderland, UK

Gaming the System: Minimizing Divided Consciousness through Psychophysical, Interactive Play

Plenary talk/performance, 12 June 12 noon

 

One of acting’s fundamental questions relates to the nature and purpose of divided consciousness. From the earliest discourses on performance to contemporary examinations, the notion of multiple potential levels of consciousness in the actor has been advanced and explored (though the language varies). Generally, the issue has been examined via theoretical constructs (actor versus character) or performed effects (emotional identification versus representation). Whatever the terms, the result has tended to be a belief that divided consciousness is desirable and arguably necessary in performance. Considering divided consciousness from the perspective of flow (the psychological state associated with ‘being in the zone’), presents a different view. Divided consciousness could be seen as a result of the mechanics by which performances are made and executed. Specifically, in identification-oriented performance practice, divided consciousness may be regarded as a schism between two flow dimensions: clear goals and immediate feedback. It emerges as a result of simultaneously seeking actor-character merger and adhering to a pre-agreed-upon performance structure. Several questions are prompted by this understanding: Is divided consciousness desirable for actors? Can it be minimized through deployment of rehearsal and performance techniques? Should it be?

 

My proposed answer to these questions takes the form of original contributions to rehearsal and performance practice collectively called ‘Inter-Actor Interaction’. These represent an attempt to minimize pre-agreed-upon performance structure by replacing it with a psychophysical, interactive game – Embodied Exploration. This game is modified and developed through provisional rule changes prompted first by ‘what if?’ propositions and supplemented by re-contextualizing notions of character, atmosphere and environment as ‘lenses’ mediating the degree to which the psychophysical interaction is outwardly manifested. Working in this way, divided consciousness can be significantly reduced in the rehearsal and performance process, resulting in a type of performance that is simultaneously familiar and strange.

 

In lieu of a paper, this abstract proposes a practical workshop session in which a small number of volunteer delegates actively participate while the rest observe. Through this demonstration, participants and observers will encounter Inter-Actor Interaction. These practices will be accompanied by oral annotation, explaining the significance, reasoning and context behind the work. In doing so, many explicit elements of the process will be clearly situated and communicated through multiple modes of discourse. Simultaneously, the tacit and embodied elements will be displayed. The aim is to present way of working which, through an original approach to physical action and a novel application of luxury energy (Eugenio Barba) and radiating (Michael Chekhov), has the potential to minimize pre-agreed-upon performance structure and by extension, divided consciousness.

 

Marc Silberschatz is a lecturer in drama at the University of Sunderland (United Kingdom). He holds a PhD from the Royal Conservatoire of Scotland and the University of Saint Andrews. As a researcher, he is actively engaged in practice-led research developing original contributions to rehearsal and performance practice. Also a professional theatre director, he has staged over twenty productions in the United States and United Kingdom including T.L.C (winner, New York International Fringe Festival Excellence Award), Wars of the Roses (called by Back Stage ‘the largest production in off-off-Broadway history), and Moby Dick – Rehearsed (New York Times critic’s pick).