Theatrical Bridge: The Art and Actor Training Method of Tadashi Suzuki From a Hungarian Perspective

Abstract

It is hard to realize after the first impression that the philosophical and pedagogical work of Mr. Suzuki has common points with the Eastern-European theatrical culture. I would like to point out the differences and similarities between our, basically psychological ways of thinking in our theatres and Tadashi Suzuki’s theatre. I would like to bridge the gap between the two opposing ways of thinking and query that they are even contrary to each other. I will research the advantages of the Suzuki Method of Actor Training for the Eastern-European theatrical culture. I will examine the different theatrical way of thinking about the legs. I would like to research this topic based on the science of theatre anthropology and my personal artistic experience with Tadashi Suzuki along the following aspects: the pre-expressive level and the body, the importance of the legs, stillness and freedom.

Keywords

• suzuki tadashi
• actor’s freedom