
There was an unquestionable sense of excitement as J. Jayakumar of Kootu-p-pattirai fame told us to get into a circle. Here we were, barely three weeks to show, at our third workshop and feeling that we still had so much to learn. And today we knew we’d be learning as much as our workshop guide could tell us about movement.
Almost as soon as we’d finished our stretches, Jayakumar joined the circle and told us to relax and to throw out our arms, ‘As if you had cut it off and were throwing it away’, he said. We weren’t supposed to think about or give our hands a specific direction. Just let go and move it around wildly. When hands and legs had been waving around madly for a considerable period of time we were instructed to ask questions. He insisted that every exercise he did had a purpose and we had to understand the purpose.
So when we began our next exercise- a game much akin to tag, except that if the catcher corners someone and the umm… cornered yells out a name before getting tagged, the named becomes the catcher (if she is tagged she of course becomes the catcher)- someone was quick to ask, “Why are we doing this?” The answer was that it helped improve relations between actors as one could easily learn names of all the fellow actors, it taught one to be aware of all the other people who played the game and it taught one how to move effectively and in co-ordination with a whole group of people.
After a short break we participated in another exercise that involved a ball, lots of passing and basically a lot of movement. Once again the purpose was explained; being able to time things correctly, learning to maintain eye contact and learning once again to be aware of what every other actor was doing.
The next exercise concentrated of the rhythm of movement. How an actor following a basic rhythm, always moves with meaning and purpose.
The workshop ended with a bit of improvisation. Three groups of three people were given three minutes of stage time to present a piece on people waiting at a bus stop. However we were not allowed to talk.
Each group performed, and was given feedback from Jayakumar, Hans Kaushik, our directorial guide, and by fellow actors. An interesting discussion followed, where acting itself was discussed. How situations and characters are established, how a lack of dialogue isn’t a negative but allows real characters’ development and most interestingly how Jayakumar thought of acting. He said, “There is no acting, only reacting.” And that was probably the most important thing we took home that day.
-Nayantara Nayar