b'notion of the I/eye which does not alter whatthe weather, are volatile and full of movement concern (1998: 176). The body scan does not setence of non-self; revealing a constantly changing it perceives and sees), Buddhist philosophy andrather than being ephemeral phenomena, theyout to change experience but rather hold it in aor evolving pattern of reactions happening within various forms of psychophysical acting praxisare stored, manifested, and released through thespacious awareness; if we face our feelings withthe bodymind organism (Daboo 2015: 13). Medi-(2007a: n.p). My intentions are aligned with Da- body. Disembodiment, rather than being an on- care, affection and non-violence, we can trans- tation teacher Tara Brach writes that techniques boos in that rather than seeking an unequivocaltological reality, refers to a culturally conditionedform them into a kind of energy that is healthycultivating a heightened awareness of vedana are outcome, I aim to open a space of possibilitiesfear of the sensuous, instinctive, and feelingand nourishing (Nhat Hanh 1998: 72). Wanghnot vehicles of detachment from the feeling body, for further dialogue (2007a: n.p). My research alsorealms of our experiencing body as an open,connects the actors process of finding ease andbut rather enablers of a more direct form of ex-speaks to Sandra Reeves explorations of the Eco- incomplete entity (Abram 1997: 125).centre to the state of balance cultivated in Zenperience (2003: 101-2). Brach suggests that paying logical Body in which she addresses on-goingmeditation; centre is maintained not by expend- loving attention to the sensations arising in the environmental degradation as symptomatic of aZohar Lavie describes mindfulness practice as theing energy to fight against distractions but byfield of our conscious awareness leads to the rec-pervasive sense of body as object and of ourselvescultivation of sensitivity, the re-tuning of theabsorbing the energy of those distractions (2000:ognition that there is absolutely nothing solid or as separate from our surrounding environmentbody to the quieterfrequencies of the world19). Considering the warm-up as a gift allows forstatic about our experience (2003: 102).(2008: 3). Both Daboos andReeves investiga- around and within us (2022). This gentle, atten- the cultivation of a loving attention to what is, as tions of the transformational potentials of embod- tive act of listening is present in Stephen Wanghsawareness expands and widens to encompass allWanghs physical approach to acting attunes ied performance are informed by ancient Bud- psychophysical acting techniques. One of Wanghsarising sensations. actors to their own river of experience. The dhist and contemporary scientific understandingssuggestions in relation to the actors warm up, isStream-of-Consciousness exercise described of the interpenetration of self in/as world.to consider it as a series of gifts you give to your- In another of Wanghs warm-up exercises, enti- above lays the foundation for Wanghs interpre-self (2000: 23). In this way, Wangh encourages thetled Stream-of-Consciousness, the actor is invitedtation of Grotowskis actor training exercises Stephen Wangh cultivation of a sensitive, compassionate practiceto vocalise their internal monologue of thoughts,- the plastique riversin which the boundary which is attentive enough to meet the needs ofimages, sensations, and associations (2000: 17).between inner and outer is softened, re-position-Stephen Wanghs physical approach to acting, de- a changing self. The brahma viharas or The FourWhen Bryan Brown first invited us to exploreing the actor as receptive to the flowing currents tailed in his book Acrobat of the Heart, is informedImmeasurables are one of the Buddhas teach- this exercise in Interpretative Acting I experi- of associative impulses which move through the by the training exercises developed in Jerzyings included in the Pali Canon. Loving-kindnessenced a rush of resistance. I felt pre-emptivelyhighly sensitive, expressive body. The plastiques can Grotowskis Polish Theatre Laboratory. Wendell(metta), Compassion (karuna), Appreciative Joyembarrassed and protective of my internal world.be practised as a series of physical explorations Beavers discerns in Grotowskis acting techniques(mudita) and Equanimity (upekkha) are four expres- Identified with my thoughts as me or mine, Iin which the actor explores the movements and a profound shift from the post industrial(act- sions of immeasurable, unbounded love. A viharafelt that externalising my stream of consciousnesscapabilities of each body part in isolation (Wangh ing) role to a reintegration of spirituality and artis an abode or dwelling place; love is understoodwould reveal aspects of myself which I felt un- 2000: 75). Such experiments lead to a heightened in which the performer becomes a medium foras a place of refuge, expansive enough to holdready to disclose. Bryan encouraged me to allowsensitivity to the imaginative associations which the sacred (2010: n.p).This deep listening actorall things (Nhat Hanh 1998: 169). The warm-upthe exercise to absorb the sensation of resistance,spring up alongside a physical gesture, allowing is present in Acrobat of the Heart (Beavers 2010:attends to the whole human being as they are onto say out loud I dont want to do this exercise.the actor to develop a somatic consciousness of n.p). Thich Nhat Hanh writes that the Sanskritthat day, in that particular moment. To give a gift,During our next exploration of the technique,their own specific bodies as vibrant archives of form of the word mindfulness, smriti, means re- the actor must first tune in to the quality of theirI allowed myself to express my frustration andemotion and experience. member (1998: 64). Similarly to the paradox ex- presence. Vedana, the second of the five aggregates,resistance, and almost immediately the sensations pressed in the do nothing exercise, Wangh sug- refers to all our sensations, pleasant or unpleas- shifted, and I was carried along a new currentHaving learnt the plastiques as technical isolations, gests that actingis not something you do, itsant or neutral, experienced through contact withof thought. In the following weeks, I found thethe plastique river is an exercise in which the per-something that happens to you (2015: 0:50/7:01).the external world (Rahula 1974: 21). WhenStream-of-Consciousness exercise to be an ex- former allows the isolations to lead them (2000: The training, then, is remembering how to let thatengaging in a warm-up as a gift-giving ritual, thetremely effective way of nourishing and readying79). Wangh writes that you do not need to move something happen by cultivating a renewed sen- actor is invited to bring awareness to the qualitymyself to perform. Relinquishing attachment toback and forth between two separate channels sitivity to experience as it unfolds. For Wangh, itof sensation in their body and respond accord- the sensations arising as me revealed the impactwhen actinginner imagery and the so-called is our shrunken sense of truth which inhibitsingly. They are invited to develop an inquisitive,of the quality of my attention on my perception.external world of acting partners are both signals our powerful and expressive bodies (2000: 117).non-judgemental relationship with their experi- arriving on the same wavelength (2000: 137). The In Wanghs unlearning techniques, fear andence. When the warm-up becomes a dialogicalIn one warm-up, as I spoke my thoughts intoinner becomes outer, the outer becomes inner and judgement are understood as metaphorical layersform of internal, emotional massage, movementsspace, I imagined a wide ocean in which my bodyan open field of consciousness is revealed. This which clothe our emotional lives (2000: 117). Toare freed to become dynamic and responsive rath- was submerged. In this ocean, my voice took onfluid state of between-ness resonates with Brachs illustrate this notion, he points to the instinctualer than unconscious and mechanical. Bringingthe rhythmic lull of the waves and my movementsdescription of paying attention to thoughts and physical expressivity of children, suggesting thatcompassionate attention to bodily experience is asoftened. I was aware of my peers moving in mysensations in meditation practice: we might be-a non-judgemental way of relating to the world ofway in which Buddhist meditation can ground in- peripheral vision and could feel their gesturescome aware of flowing sensations arising, becom-feeling and sensation is forgotten and represseddividuals in fluid, moment-to-moment existence.sending out eddies, as if submerged in the sameing distinctive, blending into each other, van-rather than lost altogether. In Buddhist teachingsbody of imaginative water. By bringing the in- ishing, appearing elsewhere (2003: 101-2). Both on strong arising emotions, it is not the feelingsTo connect lovingly with physical form or rupa,tangibility of thought into the world of soundThich Nhat Hanh and Tara Brach take the analo-themselves but our fearful and judgemental re- Thich Nhat Hanh suggests scanning your bodyand movement, it became easier to recognise thegy of the river to invoke the fluidity of experience. sponses to them which promote deeper sufferingwith the light of mindfulness while smilingfluidity of experience. The Stream-of-Conscious- Brach writes that energy is lost and suffering and a sense of internal disjuncture. Feelings, liketo each part of your body with compassion andness warm-up precipitates an embodied experi- generated in the habitual damming up or divert-12 13'