b'ing of this river (2003: 103). A loving, non-judge-mental attitude supports the embodiment of the plastique river. As the actor opens themselves up to a surrounding world of other bodies, images, associations and sensorial encounters, the sense of a clear delineation between self and world begins to disintegrate as impulses originate dependently. Zohar Lavie describes the cultivation of mindful embodiment as a route towards a sense of inter-connectivity which nourishes (and) opens us up to a much deeper, wider way of conceiving body and self - as constructs in a state of flux (2022). The plastique rivers, grounded in a foundational attitude of compassion and non-attachment, can reveal a porous self which extends the bounds of the physical body. G. P Malalasekera has defined the Buddhist philosophical conception of the in-dividual being as a becoming, a coming-to-bean event, a process (1968 in George 1999: 53). It is this sense of the fluid, relational self, embedded in the notion of anatta, which Stephen Wanghs physical approach to acting opens up.Abram, D. (1997) The Spell of the Sensuous, New York, RandomNhat Hanh, T. (1998) The Heart of the Buddhas Teaching, Ran-House. dom House. Beavers, W. (2010) Integrating Pedagogies: Somatics, Mind- Nhat Hanh, T. (n.d) The Diamond That Cuts Through Illusion, fulness/Awareness Techniques, Expressive Arts and Experi- [online resource] California, Parallax Press.ential Learning, The Association for Contemplative Mind in Higher Education (ACMHE), Second Annual Conference: The ContemplativeOida, Y. & Marshall, L. (1992) An Actor Adrift, London, Academy Amherst, Mass, September 24-26. Methuen Publishing Limited.Brach, T. (2003) Radical Acceptance: Embracing Your Life with theOida, Y. & Marshall, L. (1997) The Invisible Actor, London, Heart of a Buddha, New York, Random House. Methuen Publishing Limited. Daboo, J. (2007a), The Altering I/Eye: Consciousness, Self,Rahula, W. (1974) What the Buddha Taught, 2nd edition, New and the New Paradigm in Acting, Consciousness, Literature andYork, Grove Press.the Arts, vol. 3, no. 3.Reeve, S. (2008) The Ecological Body, [online resource], Daboo, J. (2007b) Michael Chekhov and the EmbodiedUniversity of Exeter. Available at: https://ore.exeter.ac.uk/Imagination: Higher Self and Non-Self, Studies in Theatre andrepository/handle/10036/90315 (Accessed: 2 May 2022).Performance, [online article], 3(3), pp. 261273. Wangh, S. (2000) Acrobat of the Heart: A Physical Approach to Daboo, J. (2015) To Be Re-Bitten and to Re-Become, Perfor- Acting Inspired by the Work of Jerzy Grotowski, New York, Ran-mance Research, [online article], 20(5), pp. 1221.dom House.Wangh, S. (2002) The Politics of Acting, or How to stay open to this George, D. (1999) Buddhism as/in Performance: Analysis of Med- world, [online article], Available at: https://www.stephen-itation and Theatrical Practice, New Delhi, D.K Printworld(P)wangh.com/The-Politics-of-Acting.pdf (Accessed: 20 April Ltd. 2022). Kim, H-J. (1987) Dogen Kigen: Mystical Realist, Tucson, TheWangh, S. (2015) Acting is Not Something You Do, [online University of Arizona Press.audio-visual resource]. Available at: https://www.youtube.com/watch?v=2mEfEYeJDIk&t=51s (Accessed: 16 April Lavie, Z. (2022) Interview with Sophia Trewick, 20 March, on2022). Zoom. 14 15'