Gallery Serena Snelling

Tai Chi on the scene

The look on Tai Chi Chuan as a discipline for the actor could settle for the benefits of a work of mind-body integration, however, a correlation can be much deeper with the acting work when you understand this ancient practice as a cosmological representation of the tragedy itself creation with its birth, rise and death, Through endless repetition of this ritual has its central actor, is "bring himself" integrating the sense, the Tao and, thus, work flows, present and spontaneous.

Tai Chi Chuan, which literally means "the art of combat Tai Chi is an ancient discipline of moving meditation, is practiced with slow, regular and continuing the coordination with breathing.
is the practice and application of the principles and form of Tai Chi: The "Supreme Summit" or "cornerstone" as supreme unity or principle governing the universe, is associated with the sense of shaft or pivot around which tabulates all the changes: "The basis of these mutations is the major focus, Tai Chi, the unit that is beyond all duality, of any event, of all existence even. Mutations were developed following a path defined and meaningful (Tao), the Way of Heaven, which has, on Earth, the Way of Man. Because the fundamental principle on which the entire Book of Changes is to assume that there is a harmony and a general link between the macrocosm and microcosm ... "(Tao Te Ching by Lao Tzu, Richard Wilhelm version, Ed Sirius)

Tai Chi is associated with a graphical representation widely known by the name of Yin-Yang, in which a circle is separated (or joined) by a sinuous line in two identical halves, one dark and one clear, with a small light circle in the dark half and a dark circle in the middle clear.
is precisely this sinuous line, which establishes the connection between the two principles Yin and Yang, which forms the basis of the whole philosophy underlying the practice of Tai Chi Chuan, at all times be kept in mind the interaction between Yin and Yang principle generation, the notion of extending pivot axis or mental representation of "being in the axis beyond the alignment of the spine, a microcosmic image of the universe.

Tai Chi Chuan : work of the actor on himself

Without leaving the house.
You can see the world
Without looking out the window
can know the meaning of Heaven. The more world
runs much less is known

(Lao Tse, 47)

Tai Chi Chuan, and Tai Chi practice, is a representation, the same way as a play, with slogans that are peculiar and, to be exercised on an ongoing basis, develop the skills needed for acting.
During the performance, or form, are deployed in a strict sequence of basic movements that make up the structure of this discipline. These are a few basic movements, 13 according to some authors, but the form includes 88 or 108 of such movements and runs about 20 minutes.
The practice of Tai Chi Chuan as training for the actor should be seen as an in-depth, unlike that in which the actor goes through a variety of technical and expressive resources.
For this reason, in practice, does not concern a different work for different actors and their characters, the form of Tai Chi Chuan as always repeats itself in its external appearance. Learning, growth, is a quest that each practitioner performed within itself.
Training for acting work in this discipline means the development of performing skills, and in a more committed stage, the construction of the character from within.
A general training for the actor requires, first, working its concentration to be precisely the axis about which the articulated body awareness, balance, and physical and mental relaxation.
concentration for the actor is a state in which attention is this: "The mind that is set at a single point release does not work. The wheel turns because it is free. If it is fixed in one place, constantly moving "(The Way of the Samurai, Thomas Cleary).
To which we add that the wheel turns because it has a center. Tai Chi Chuan
responds to this need for developing concentration through the principles governing the conduct of the movements: the spine as an axis, deep abdominal breathing and the "unmoved mover" from which all movements are born.
These principles require the practitioner continued attention to all parts of his body, tracking of abdominal breathing and the very complexity of the movements within a framework focused repetitive thoughts and lead to the development of body awareness, mind registers what happens to the body, breath no longer an automatic function of the organism to become center and at the time, conscious work. Thus, the actor, in addition to acquiring greater body awareness and relaxation as a direct result of deep breathing, has worked to return to its axis, to balance and to achieve, develop your powers of concentration.
Their training consists of repeating the form of Tai Chi Chuan and over again, and, as far as possible, before trial or representation. During this repetition, draws attention to every movement so that levied on air rubbing his hands as if swimming is aware of every muscle, every sensation perceived.
The eyes and ears are balanced between concentration and attention, this means that the eye follows the movement of the hand at all times, as an inner circle of care, as a guide that allows the eye does not stop at external obstacles, but also by the movement of the universe that revolves about its own axis, integrating this awareness wider circle of care while differentiating between them also hear every sound, far and near, trying to capture even the most subtle and more disturbing. Thus the actor refines its perception and sensitivity to find inside the character that will give life and in resemblance to their integration training, you can "feel that their internal and external flow on the scene and carried out in a natural and normal in the surrounding circumstances, when the deepest sources of her unconscious open without effort "(An actor prepares, Constantin Stanislavski )
In training with Tai Chi Chuan, the actor deepens your connection to the here and now "intensively developed in two aspects that are vital to its character: the presence and continuity.
far we have seen how actors develop their performing skills essential for the "representation" in the form of Tai Chi Chuan, the challenge is now to the specific work at the scene, and Grotowski's words: "The actor who performs an act of penetration itself remains, of offering what is in it more intimate, you must have the opportunity to express the psychic impulses, even those too faint to say have not yet had time to emerge, moving to the real sphere of sounds and gestures drives that, in our psyche, are on the border that separates the real from the dream. "(What does the word" theater "?, Jerzy Grotowski)
fact, training with the Tai Chi Chuan is, in a later stage in stand at the frontier between reality and dream, to make communication flow between the conscious and unconscious, to harmonize the work of the cerebral hemispheres.
This delicate balance is nurtured by the practice of creative thinking, the "i" or "word of the heart", which is both the specific intention and representation, that beyond the words is an image formed in the heart ( In Chinese culture the word heart refers to the set of feelings and emotions that link the individual with the outside world).
This "word of the heart" is more about the actor to find the essence of his employment to be genuine and spontaneous. When practicing Tai Chi Chuan recorded images movements of his master, dispenses with the conventional words and his memory is composed of a succession of pictures that guide you as an invisible thread, as the discourse of "word of the heart." Add
and then expresses the intention of the movement, which again is recorded for comparison with the original. It is a coming and going, a rhythm between Yin and Yang, between the potency and act, between the receptive and creative.
training in acting is, for example, that the simple act of walking becomes a task of will, concentration and perception, turning the everyday into a transcendental. No longer work, as in naturalistic schools, with a repertoire of ways of walking exercise but one, delving into it until the actor finds within itself the vital impulse to move to his work on stage.
Thus, work on the "word of the heart, the actress who plays Lady Macbeth does not" say "you see blood on their hands," sees "the blood.




Tai Chi Chuan as a representation

The Tao produced the one, the one produced
two
the two produced the three.
and three gave birth to all beings
Everything has a shadow behind
and everything goes to light, a breath
Heritage harmonizes
(Lao Tse, 42)

The form starts with the Unit, the instant of Creation (Wu Chi) is a lull when the weight is symmetrically distributed on two feet. Rupture occurs Unit, the creation of Yin and Yang that the practitioner expresses the alternating sequence of movements and the weight on one foot and then the other, each movement corresponds to a phase of respiration: breathe out as you go is the Yang phase, the reverse is inhaled, is the yin phase. The column is always kept vertical, from the tailbone to the crown and all moves are made around this axis, the axis of the world linking Earth to Heaven, we evolve axis vertically through different levels of reality. All movements are born from the "unmoved mover", Tan Tien, a point a few inches below the navel, "Energy is rooted in the feet, develops in the legs, is directed by the waist and is expressed in hands "(3), so the slightest movement of the hand is actually a movement of the Tan Tien.
The mind begins by placing a profound awareness of their individuality and not the head but in the Tan Tien, the center of gravity is lowered for better balance.
takes shape without any interruption, represents the image of a "white crane spreads its wings", the "separate the horse's mane" or the regular movement of a bear erect on its hind legs. The rate of respiration, the change of weight from one foot to another, are microcosmic images of rhythm that governs the universe, day and night, winter and summer, life and death, light and darkness, the ritual requires the full understanding that only when there is this alternation is possible that there is a demonstration, the actor feels in his body the energy it generates the rhythm, the movements are always circular, in imitation of the sinuous line in the representation of Tai Chi, and are chained in form continuing with the full knowledge that only the circularity principle ensures that there is no end, when Yang is at its peak is when you are born the Yin, then have to reverse the ratio, respiration also follows a circular orbit: the "microcosmic orbit" and then there is no difference between inhalation and exhalation are only two phases of the same process. The mind is focused on air travel and records reflecting these alternations alternations macrocosmic analog.
The ear is attentive to all the sounds, the farthest and nearest records and accepts even disturbing noises, uses to receive them as a source of energy. The look, reflecting the soul, still hand in their movement and, turning the body is the entire universe that revolves around the axis, then the hand eye perceives itself and everything that surrounds it, thereby integrating the in with the outside, the self with the not-self.
Finally, everything returns to the Unit, the last position of representation is also the Wu Chi, in which the weight is distributed on both feet.
For the actor who has worked this representation opens the possibility of repeating many times ever deepening the principles that animate it.
Yes, one could say without hesitation that deep abdominal breathing exercise is achieved serenity, relaxation, voice control, that working with a focus on every part of your body and every movement is made body awareness and presence.
But these benefits are only the most immediate and practical work with the Tai Chi Chuan. For the actor is not a technique, or even about a technique, is a different approach to work, the diversity of styles, learning is replaced by the depth of this ritual, and that describes a shaft depth through a number of vertical planes, which unites and integrates.
is harmonizing its role, his character, universal dimension, that which recognizes within himself and which led him to represent them, working in depth, looking for its center, its axis, from which you can be aware of this unity between what is and what it represents, delving into the emotions, the reactions of the body and mind , your search will integrate both the direction, to what, religiously, will breathe life and presence in their performance.

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Reflections on the photographic portrait

This paper aims to open an instance of reflection on the work of photographic portraits of human beings. Beyond the technical and lighting requirements that form the backdrop of the portrait, the deepening of the essence of art to portray is linked to a work of introspection by the photographer, in keeping with his desire to bring the greatest wealth portrayed and subtlety, perform a task in mirror brought himself and noted at the time the shutter of his camera.

Perhaps most important in the photographic portrait is a study of the gaze of the sitter. Photograph is watching and is also the gaze of others. The look of the camera is a situation of particular importance when one begins to investigate why, in what happened during the shooting. The photographer who portrays a character looking at the camera is temporarily occupying the place of all spectators to be found later in front of the photographic image. Arguably the representative of all of them. And what is seen as a priority is that the direct gaze is a dialogue which leaves no room for a third party or allow circumvented: I talk to the character, I, photographer when you shoot, I am facing the viewer when the picture. And in this dialogue, my eyes are inextricably linked to the character. He can not do otherwise, his gaze was fixed on the goal, and mine is trapped in the eye line. On the strength of this finding suggests that the dialogue that involves a complicity was established, and therefore compels me to admit that I know of that person than the others, which are not included in the dialogue, in line with the looks, should be ignored. Most times this complicity, that secret, not previously exist, but the photographic act created the need to uncover and, as a spectator, I see the commitment to further reflection. Again the metaphor of the mirror takes effect when the view sitter's eyes, those that help him see the outside world, I feel compelled to grasp what the other side of those eyes: his inner world.
When the portrait is not looking at the camera feels that leaves room for the photographer, and with him or after him, the audience, opening a space for comments about that or that you are posing. It is no longer speaks to the character, dialogue between viewers and the portrait acquires the ability to convey a message of another kind, to build a new sign: something that looks or what she was supposed that caught his eye is now a new element the scene. As the lines and shapes make up plastic signs that condition reading of the image, the gaze direction is an important powerful line in this passage. Then the questions arise: What look? or where is he lost his eye? From there the investigation continues in new directions that are linked to the frame as it is this that will solve showing or omitting the object of the gaze. There is always a reason, there is always a reading of the image that deals with the motives of the photographer as well as those attributed to the portrait, the gaze of the subject created an expectation and reaction of the photographer is linked with that expectation.
also the differences and, therefore, new research purposes when the gaze is directed toward a distant horizon, as is the case of a profile, or when directed towards the back of the photographer as a three-quarter profile.
The question is always the same: what we said look, what we want to tell? Obviously something tells us that is directed toward the horizon to the floor or behind us (the photographer or viewer), but to know with some accuracy that message, and pruning should be clear that we assume that has to do with pose. The pose "sends" an attitude towards the camera, the portrait means something but you also want to think a certain way to see its image. It is a difficult task to separate the which belongs to the posturing than it naturally would show the eyes. This requires taking the time to look at the image and let the layers of connotation are appearing one after another, the most hidden, probably the most interesting, they will demand more time and more patience, more quiet and more introspective.
always in line with the portrait in depth, there is another highly significant element in reading the body language is out of hand. The hands of the portraits speak almost as much as his eyes and account for them almost a nuisance, is a case that is similar to the actors who betray their hands up in the scene. The skill and dexterity
characterizing the function of hand become quasi-independent entities, as if they belonged to the body or as if they took the decisions for themselves, hands account for the activity depicted and when the focus is placed on a person notes that the hands acquire a major unexpected. The message that the hands convey the photographer does not reach the level of consciousness, lies in the composition of the image and have an enormous weight on the reading of the picture. That is why, as for the look, always returns to the same conclusion: it is necessary a deep inquiry, a respectful silence, by the photographer, to cultivate these subtle messages that are the real secret speech of those depicted.

In another scenario the individual portrait in depth, is that of human beings in their activity, at work, in their daily lives. Acquires greater importance here the link with the world, they are characters in action, characters interacting with their environment.
A particular observation made over several years of work photographing actors and sculptors is linked to the perception of the existence of a dimension that adds depth to their representation. It is a dimension that could be called mythological individuals working, acting, activating, not only represent themselves involving archetypes themselves, but found out this time and this place. The first observations of this type gave me no little surprise and provoked deep thought, since the identification of a mythological dimension appeared never clearly defined from the beginning, it was more a feeling of "déjà vu", a deep knowledge of roots or dream recall some reason. However, the repetition of these mythological images leads me to further analyze the reasons why I, a photographer, can be attracted by this or that situation with any of the characters I photograph, I began to identify the characteristics that met some of these situations and consequently discover that it is possible to associate characters from mythology or legends to those of flesh and bone, working with my camera. A sculptor carving stone with some extremely violent blows of mace suggests to me that I find myself in front of a blacksmith who matter most to adjust to a sculptor carving, printing and find that it inspires me is associated with the idea of forge of hell, Hades. The real person has been moved before my eyes and my camera to a representation of a mythical being. Such shipments or, rather, in depth, occur repeatedly for portrait work of people in their activities, noting the resulting images, carefully checked what provoked me and I arrived at the conclusion that my photographic work focused on those individuals who carried me further into the mythological dimension. And, especially when these activities are rooted in the distant past, as the actor or the sculptor, the snapshot of this is a testament to a continuing evolution of centuries.

Unlike oral speech, the image is presented entirely and at once, the term snapshot does not apply both the shutter speed the camera as the mechanism capture the look. Verbal discourse, to be presented in an orderly succession in time provides a leveling in the order of its constituent elements, words or sounds, that will have all the opportunity to be issued in due course. In the image, presentation and block instant, the elements are struggling to stand or go unnoticed and, although the eye will perceive them all, some will go to consciousness more accurately than others, hence arises the need to observe images in an extreme state of receptivity, to retrieve all the signs that constitute the image, that discreet, no less enriching its meaning.

And so we came to the conclusion: reflection and analysis of the feedback received, the search for the minimal sensations produced by the image may be a starting point for research and deepening human photography.

References: The Myth of the Eternal Return - Mircea Eliade
Blacksmiths and Alchemists - Mircea Eliade
The archetypes and the collective unconscious - CG Jung
The photographic act - Philippe Dubois