Relationship And Physical And Mental Cultivation

Among the four masters of play in the last century,Grotowski can be described as the most maverick "alternative master." In addition to being the director, he has seemed more like a philosopher or mystic, for he explored his life not limited to the theater in performing arts, but through actions, such as performing, to explore original meaning of human existence, and to help people enter into a harmonious state of mind before physical and psychological dichotomy. In his eyes, the performers should be a wonderful state of being, not to show the audience or make a hit. But to achieve themselves, to find the inner self and make it one with the outter. In order to find the essence of the human body and the harmony of self-realization, he didn’t stay in the theory or fantasy. In order to achieve the actor’s best performance status by the presence of the state to achieve the best people, he spent a lifetime trying all kinds of physical training methods, from poverty arts theater to the various stages of practice. Aspirant Kendo and laido embarked on a path of precisely this:to do a specific physical action, as a way to exercise the body and the heart and mind, to discover yourself, to achieve a better self and direct themselves toward a kind of perfect harmony of body and mind. Different from the hylomorphic nature of western theory, eastern traditional techniques emphasis more on the practice with the harmony of body and mind. Practice must be based on a physical training technique, but can never be lack of awareness and the integration of spirit. No matter Grignard performance training, or Kendo, or laido practice, they all keep away audiences who are traditionally defined as "a looker-on". However, they are all group activities of human. When an individual acting in a group, his activity is actually watched and impacted by people around him. Formed between the watcher and the actors are variety relationships of watch and play. And different relationship affect the action of the actor in various ways, and even affect the nature and purpose of action. It is undeniable that human existence can not be separated from social after all, as well as action is not out of contemplation. This gives us revelation about the "existence" of two aspects that, on the one hand, how to build self-contemplation with a variety of external contemplation and to build self-awareness through practice, on the other hand, how to have a good grasp of performances under a variety of contemplation, specifications and requirements, without losing the link with self-mind. Only in this way, one may come to a successful life by establishing the harmony of body and mind.