why is proprioception important in movement training for actors...

What is proprioception? Thank heavens for Wikipedia! It provides a great definition!

Proprioception is the sense of self-movement and body position. It is sometimes described as the "sixth sense". Proprioception is mediated by mechanically-sensitive proprioceptor neurons distributed throughout an animal's body. Most vertebrates possess three basic types of proprioceptors: muscle spindles, which are embedded in skeletal muscle fibers, Golgi tendon organs, which lie at the interface of muscles and tendons, and joint receptors, which are low-threshold mechanoreceptors embedded in joint capsules. Many invertebrates, such as insects, also possess three basic proprioceptor types with analogous functional properties: chordotonal neurons, campaniform sensilla, and hair plates.

The central nervous system integrates information from proprioception and other sensory systems, such as vision and the vestibular system, to create an overall representation of body position, movement, and acceleration.

The sense of proprioception is ubiquitous across mobile animals and is essential for the motor coordination of the body.

Proprioception is from Latin proprius, meaning "one's own", "individual", and capio, capere, to take or grasp. Thus, to grasp one's own position in space, including the position of the limbs in relation to each other and the body as a whole.

The word kinesthesia or kinæsthesia (kinesthetic sense) refers to movement sense but has been used inconsistently to refer either to proprioception alone or to the brain's integration of proprioceptive and vestibular inputs. Kinesthesia is a modern medical term composed of elements from Greek; kinein "to set in motion; to move" (from PIE root *keie- "to set in motion") + aisthesis "perception, feeling" (from PIE root *au- "to perceive") + Greek abstract noun ending -ia (corresponds to English -hood e.g. motherhood). (care of Wikipedia)

So why is this important for movement in actors? For me knowing where my partner is, where my props / weapons are and of course I am in space is the basic answer. However, if I dig around a little deeper into my curiosity and ask why! That is to say why is it extremely important in my studies and practice to hone this skill. My curiosity leads me to focus on the words force and touch.What I’m referring to here is my grip, my energy exerted, my ability at the very moment of contact with a fellow actor, audience member or prop know what I am dealing with on a neurological, muscular and skeletal level. Why I hear you ask! It strikes me that a large part of successful proprioception is about knowing where your joints are in space and thus know how to make the next move.

Let’s take a piece of fight choreography for example. So, choreographically I am to grab another actor and stage a certain amount of perceived resistance in that choreography (ie a ‘struggle’) and then push them across the space. The moment I grab another actor I am making so many decisions based on that sense of touch. I am using my nervous system, to analyse where my partner is at in space but also many other questions. Are they balanced? Where is their weight loaded? Are they giving up their centre? Are they working too hard? Have they got too much energy? Are they too ‘floppy’? I would even go so far as to say I could even read how they are going emotionally. Once I weigh up all these questions and more – I can start to then move to my muscular and skeletal systems to work out how best to move through the choreography. So, based on how my joints are calibrated will inform how I begin to move into the choreography and with how much force. The synchronised and effective use of hinge and socket joints will be the key to smooth movement.

to be continued...

proprioception in motion...

My body as a Japanese Pagoda

Maintaining and controlling balance under adverse physical conditions can be tricky. There are some opinions that the feet/ankle and hips can deal with most of the demands on the body for sustaining balance during the initial wave of physical demand. Then as the task becomes more challenging for the body the upper body starts to kick in in order to support extra responsibilities to get balance back under control. This is a great article that supports that notion. I found this article great and some of the other ones it pointed to.

So based on this notion, here is my muse. What does an actor do when their upper body is already engaged in other physical needs? E.g. when both arms are welding two weapons, grappling or physical comedy. How then does the upper body support re-establishing balance? Or vice versa. 

 

For me, the answer lies in the Japanese Pagoda. Its ability to withstand earthquakes is a testament to its design. What a fantastic flexible structure. The Toji Pagoda (link embedded) in Japan is around 400 years old and has withstood many earthquakes and storms. In the clip the interviewee refers to a theory: the “snakedance”. A relationship between the pagoda and the earthquake. The “snakedance” is at the heart of the image I use to harmonise my feet, ankles, hips, and upper body during times of extreme physical stress.

 

The understanding that my feet (see previous blog about the three arches in our feet) ankles, hips and upper body work as isolated sections within a global scheme is important. Developing a strong neurological pathway through conscious development and training is the key. Much like the way the joins work in the pagoda.

 

When I feel my feet and ankles being compromised then I ensure my hips and upper body are engaged and compensating for the lack of feet and ankles being accessed and conversely for when other sections (hips or upper body) are compromised. The global scheme of my body is well connected I just need to tap into it to maximise that effective instrument trough constant training.

To be continued…

why maintain training?

Objective for Stage Combat Teacher. To train and educate stage combat to actors.

Challenge for Stage Combat Teacher. Ensure that the training will withstand the length of their career to combat the issue that no doubt there will be no regular maintenance of skills. To over come that challenge one must have a strong conceptual approach that is more than just a series of techniques. Or encourage an actor to maintain training...

To ensure that an actor can perform a violent moment; armed or unarmed and, or a slapstick / comedy routine while navigating the stage or area of performance, without any danger to other performers, crew, audience or equipment in a safe and believable manner at the height of any emotionally demanding situation or scene. The actor must be strongly disciplined and well versed in the art of stage combat. Like any profession this ideal ability could only happen if the skills in question have been taught in a diligently affective methodical way and are maintained on a regular basis over the course of the actor’s professional career.

Over the years I have born witness to some wonderful exponents of the art form of stage combat both actors and teachers, but unfortunately what I have observed for the most part in my career with respect to actors performing or training in stage combat and teachers of stage combat alike is:

• Actors without any skills
• Actors with a poor level of base knowledge
• No attention or thought given to a ‘building block of knowledge’ method or process of teaching required to effectively deliver the subject matter with any sustainability of the actor’s career
• A lack of comprehension on the teacher’s behalf of how to integrate the subject matter into and actor’s career and or process
• Geographical challenges for instructors to maintain or challenge their own skill development
• A lack of qualified in a lot of teachers (globally)High level of self-taught experts

From my observation I have ascertained this situation can be attributed to but is not limited to some points of concern:

Little or no attitude or desire from actors to maintain the skill

• A lack of time to maintain the skill
• A deficiency of funds to maintain the skill, usually because actors are out of work
• A lack of appreciation of the skills
• An under valuation of the subject matter
• A lack of universities providing the subject or next to not enough time schedules to deliver any strong syllabus

As a result of the above observations; the common denominator faced by qualified Fight Directors is unskilled actors (or next to no skills) in the work force. If actors are unversed physically with the skill of stage combat, then artistic choices as a fight director are usually compromised in order to maintain a safe working environment. What compounds this problem is when actors are unskilled and coupled with no real control of emotions in the heat of performance then extra care and concessions need to be made in a bid to protect other actors involved in the scene and more importantly the actor who has no emotional control. 

While performing stage combat in context of a scene or moment on screen or stage, despite the actor’s ability or inability to control their emotional and physical needs; and even regardless of their technique or their style of acting. A balance needs to be struck amid the relationship that exists between the emotional and physical demands in order to maintain believability and safety. So I guess I’m just saying find the time to maintain the skills required of you as an actor to be an asset in the workforce just as you might maintain your voice.

the foot bone is connected to the hip bone…

Every time I come back from The Paddy Crean International Workshop there are always loads of epiphanies running around in my subconscious that are yet to be fully realised. It usually takes months for them to eventually find their way to the surface of my conscious mind. This trip was a much the same, but one epiphany landed with me instantaneously.

 I was lucky enough to be observing a class by Anthony and Mary De Longis when Anthony made the smallest remark which rang bells for me. It was the smallest comment, and he probably acquired it from another master. But the expression finally gave me a new succinct way of explaining something I was always over explaining and over complicating to my students. “Your feet unlock your hips”

The reason this maxim was so insightful for me is that I often spend a lot of energy on student’s awareness of their ‘hip relationship” (ie where are your hips aligned and ensuring it’s a choice not an accident). But for a student to successfully navigate the concept of hip relationship they really need to be in complete awareness of what their feet are doing. Which I get; and have always ensured good footwork is happening – but the word ‘unlock’ in this principle is the key.

The muscles that support the tibia, fibula and feet bones allow the foot to either flex, extend the foot, flex or extend the toes and or support the structure of the foot. This complex system allows for the feet to move, rotate, supinate, pronate etc and thus provide the upper part of the legs and importantly the hips to have a greater range of movement and greater control and diversity in alignment.

For me the foot or should I say when all aspects of foot control and manipulation are used. Meaning the three points of contact: ball, heel and toes are used cohesively and independently of each other they support my hips and thus in turn my centre of gravity. By breaking the foot down into these six points of contact (i.e. three on each foot) it equips me with the dexterity and control I need for awareness of placement of my base, braking ability, potential for acceleration and stability. The feet really do have to potential to unlock our hips on so many levels.

radius & ulna

The relationship between sword and forearm is a wonderous example of the body moving in harmony with an object that was well designed. If you think a little deeper about the design of both sword and forearm there is a fantastic correlation to be had between the edges of the weapon and the bones within the forearm.

When I am manipulating a sword either cutting, thrusting, parrying, or even just freely moving the sword through space. I try to imagine the way the radius and ulna move. To be specific the way in which the false edge moves with the radius and in turn how the ulna moves with the true edge of the sword.

By visualising this relationship, I enhance my ability to move in synchronization with the blade and more over the way in which it may have been designed. In turn I am extending my intention through the whole sword. From thought, through my centre to the tip of the sword.

The amazing design of the forearm in terms of its ability to pronate and supinate allows for such a great range of movement. The combination and use of my thumb, pointer finger and middle to pinkie finger provide an interface with the hilt of the sword to gain control of the blade. With practice I can combine specific placements my fingers to advance the best performance of the blade regardless of the hilt shape i.e. swept hilt, sabre hilt or a simple cross guard.

The more the actor gains (literal) inside knowledge of the anatomical function of this process the more they will gain control of the sword being manipulate in their hands.  I would even go so far as to say any prop being wielded by an actor could benefit from this greater understanding.

To be continued…

don't give up your centre

Spiritually and combatively if we give up our centre we are undone. When you lean on some thing or some one how much do you give away your centre? 

When you lean on a balcony to take in view do you give all your weight over to the balcony? If the balcony gave way you would fall. It would be advantageous to take agency over our centre so we don’t fall over or get hurt.

Whether performing stage combat or doing movement of any form that requires shared body weight. It is important that we don’t give up our centre. Maintaining your own balance is integral so if you give away your centre it will be even harder to maintain balance. 

Combatively speaking your opponent will often be attempting to take your centre away form you so if you give it up you’ve done a lot of their work for them. So it would behove us in the replication of combat to not give away our centre. 

I have a maxim: "don’t compromise your own structure to get what you want." In simple terms I mean if you allow you own centre to operate away from your base without any care you will be placing yourself in danger. To be specific: danger of falling probably. 

the victim does NOT do all the work...

I was reflecting on some thoughts and concepts that I was introduced as gospel in stage combat the other day. One of the fundamental principles I was told when I started my formal stage combat training was – the victim does all the work.

A maxim that states that while performing something like a hair grab for example the victim is the one leading the move. Here is a link to an example of the thinking I am referring to – hair grab YouTube link. (disclaimer – I am in no way having a go at this tutorial it is just an example)

Hopefully you took a quick look at the video it’s only a minute long – here is my problem with this line of thinking. The main concern for me is that the aggressor becomes a passenger in the experience. It necessitates that the aggressor must ‘follow’ the victim when in fact the image we are generally trying to convey to the audience is that the aggressor is the ‘dominate force’. It is another great example of making stage combat look stagey. Which again reinforces my notion that we should not be calling it stage combat in the first place. After all when I play a doctor on stage I’m not referred as a stage doctor am I? I’m called a doctor. But I digress.

I am curious by nature and therefore question everything; so why can’t the aggressor control some aspects of this technique? We know it’s not real… we know we are working together to create the illusion... so why does only one of the actors have to ‘control’ everything?

If we look at a waltz as correlation to the work, I am describing; the lead person is ‘guiding’ the other through two strong points of contact - the hand and the back. But even in this scenario the person being led knows the choreography it’s just these points of contact allow for subtlety and nuance in the delivery of the choreography. So why not bring the same level of subtlety and nuance via listening to combat for stage and screen?

I am not saying the victim has it easy, if we look at the dance for example the person being led must do it backwards for want of a better phrase. It’s just that I feel there is a better way to represent this type of violence. Which could be through stronger structure and alignment and guided communication from the ‘aggressor’. In the example in that video linked above - even if the male actor had grabbed the female actor’s elbow to create another point of contact he could have looked a little more involved with the picture / story.

Anyway, my one year old is hungry so must away. Hope that pricked your curiosity as well.

Stay curious...

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