{"id":10,"date":"2019-01-01T10:15:29","date_gmt":"2019-01-01T10:15:29","guid":{"rendered":"http:\/\/adishakti.crossroad-solutions.com\/?page_id=10"},"modified":"2022-03-31T02:52:45","modified_gmt":"2022-03-31T02:52:45","slug":"research","status":"publish","type":"page","link":"https:\/\/adishaktitheatrearts.com\/research\/","title":{"rendered":"Research on Craft"},"content":{"rendered":"\t\t
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Research<\/h1>

Adishakti started with the research into canadian pharmacy levitra and re-animation of traditional and folk knowledges in theatre, music and movement, to evolve a viable physical vocabulary for performance. It encompasses methods for training in voice, Kalaripayattu, psychological expression and using rhythm as text.<\/p>

\u00bb more<\/p>

Although primarily a performance company, the research element in Adishakti’s activities\u00a0occupies a large part of its daily time and energy. Over the years it has evolved a physical\u00a0craft for feeding the physical, vocal and psychological expression of the actor. This is based\u00a0on certain Indian knowledge and physical forms like Kalaripayattu, the Kerala martial art\u00a0form, breath practices for psychological expression used in Koodiyattam, a form of classical\u00a0Sanskrit Theatre and the rhythm patterns of music which accompany Koodiyattam performance.<\/p>

Adishakti\u2019s research took off when Veenapani started studying Koodiyattam under Guru\u00a0Ammanoor Madhav Chakiar in Iringallakuda, Kerala. She enquired how he managed to maintain\u00a0the freshness of his emotion in performance day after day. He replied she had to find out that\u00a0secret herself. So after detailed and in-depth study, Veenapani realised that it is the unfailing\u00a0use of breath that fed every emotion. \u00a0Each emotion has a particular breath pattern and definite progressions of rhythm.<\/p>

From 2001 onwards, Adishakti started to create the opportunity for new and imaginative\u00a0exchanges between contemporary writers and performers; musicians and mathematicians;\u00a0contemporary scientists and actors; traditional healers and philosophers. She created\u00a0exchange between cultures which have shared origins or different origins but certain\u00a0shared principles. This revitalized performance as a powerful bridging agent between\u00a0disparate worlds and knowledge systems.<\/p>

From 2001 onwards, Adishakti started creating opportunity for new and imaginative\u00a0exchanges between cultures which have shared or different origins.<\/p>

These exchanges explored certain shared principles that revitalises performance as a\u00a0powerful agent between disparate worlds and knowledge systems. The exchanges were\u00a0between but not limited to contemporary writers and \u00a0p[erformers; musicians and\u00a0mathematicians; scientists and actors; traditional healers and philosophers. Currently,\u00a0Vinay Kumar is pursuing this research on creating reliable performance tools for artists.<\/p>

Our training methods in SOPE workshops were the end result of one such research . These\u00a0workshops are designed to make traditional knowledges accessible to \u00a0contemporary\u00a0performers from different cultural and aesthetic contexts. These findings also feed our own\u00a0performances and empower our actors with an unfailing physical craft -the use of breath.<\/p>

We present these discoveries and concerns and hope that they trigger off your thought process\u00a0that may result in an exchange of ideas.<\/p>

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\"\"<\/a><\/div>\n
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\n Research Papers<\/a>\n\n \n\n <\/div>\n
\n Downloadable papers on some of our insights. <\/div>\n <\/a>\n \n <\/div>\n <\/div>\n <\/div>
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\n The Theatre Of Veenapani Chawla<\/a>\n\n \n\n <\/div>\n
\n An exhaustive study presenting a multidimensional view of Veenapani Chawla\u2019s journey in the realm of theatre. <\/div>\n <\/a>\n \n <\/div>\n <\/div>\n <\/div>
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\n Adishakti Play Scripts<\/a>\n\n \n\n <\/div>\n
\n Play Scripts from Adishakti's own productions. <\/div>\n <\/a>\n \n <\/div>\n <\/div>\n <\/div>
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\n Architecture<\/a>\n\n \n\n <\/div>\n
\n The architectural and spatial needs of Theatre must be determined by a philosophy and aesthetic of live performance, which make it a valid form of expression today. <\/div>\n <\/a>\n \n <\/div>\n <\/div>\n <\/div> <\/div>\n
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