E. Morris, Via Rhythmós. An Investigation of Rhythm in Psychophysical Actor Training, PhD Thesis, University of Huddersfield, 2012, 300 p.
of the melody. Forget the melody and understand
the pitch. Forget the pitch and understand the rhythm
(Zeami, [1424] 1984, p.103).
If we enter a space where actors train it is inevitable that we will encounter
rhythm in one form or another. The training studio is a place
where the rhythms of ritual, play and interpersonal relationship are
both encouraged and celebrated. Actors involved in cyclic and alternating
repetitions of movements and sounds, warm up and train their
bodies, voices and attention. We hear the rhythms of music used to
create a focused working environment, to invigorate and sustain the
energy of a group, or establish a pulsation from which to work. We
hear and see the rhythms of breath and patterns of walking feet, the
prosody of speech and the flowing alternation of dialogue ; and we are
aware of the synchronous coordination of an ensemble. We observe
rhythm in the structuring and breaking down of scenes and movement
scores into their constituent parts, and in the simple sequential and
repetitious nature of a training routine. Rhythm informs almost every
aspect of how actors train and yet for the most part little is understood
about the nature of rhythm within this context or the specific benefits
that rhythm offers actors. This thesis intends to address these issues
by looking at the historical context from which these practices have
emerged, at the use of rhythm in current practices, and at further potential
applications of rhythm within this field. [...]