{"id":211127,"date":"2020-06-09T14:34:22","date_gmt":"2020-06-09T09:04:22","guid":{"rendered":"https:\/\/www.colombotelegraph.com\/?p=211127"},"modified":"2020-06-16T16:03:02","modified_gmt":"2020-06-16T10:33:02","slug":"the-last-prana-of-zarrilli-a-tribute-to-phillip-b-zarrilli-1942-2020","status":"publish","type":"post","link":"https:\/\/www.colombotelegraph.com\/index.php\/the-last-prana-of-zarrilli-a-tribute-to-phillip-b-zarrilli-1942-2020\/","title":{"rendered":"The Last Pr\u0101na Of Zarrilli:\u00a0A Tribute To Phillip B. Zarrilli (1942-2020)"},"content":{"rendered":"

By Saumya Liyanage<\/a> –<\/span><\/b><\/p>\n

\"\"<\/a>

Prof. Saumya Liyanage<\/p><\/div>\n

\u2018He rode out on a breath – like so many times in his teaching he spoke of riding the breath to that moment of completion at the end of exhalation – the space in-between at the end of one cycle before the impulse of the next inhalation begins. This time came no inhalation\u2019<\/i> (Kate O\u2019Reilly, 2020)<\/p>\n

This is what playwright Kaite O’Reilly, recently wrote to his friends on Zarrilli\u2019s departure. On the 28th<\/sup>\u00a0of April 2020, Emeritus Professor Phillip B. Zarrilli, theatre scholar, actor, director, and writer passed away after battling cancer for nearly fifteen years. The news of Zarrilli\u2019s demise was devastating to his friends, theatre colleagues, and especially those who have been his students close by and far away in the UK, India, South Asia, and elsewhere. Undoubtedly I fall into a category of friend and mentee who has been living far away from his home but been very much close to his thoughts, writings, and his teaching of actor training. He was a great teacher and a performance philosopher whose contribution to uplift Asian tradition of actor training was immense and immeasurable. I received this sad news of Zarrilli\u2019s demise in the first week of May while we all were locked down with fear and anger amidst the corona outbreak. \"\"<\/a><\/p>\n

It is very difficult for someone to write something about a man who has expanded his career in theatre for nearly four decades and comment on a vast array of writing on intercultural theatre and performance practice he has envisioned. Zarrilli has worked as an author, dramaturge, actor, performer trainer, teacher, and inspiring guru for many students, emerging academics, and actors all over the world. Many theatre scholars undoubtedly have been influenced or at least been inspired from what he has written on theatre, Asian theatre or body-mind philosophies in acting. Zarrilli was a master teacher in\u00a0Kalaripayattu<\/i>\u00a0martial art in Kerala, India and he was one of the pioneering pedagogues who has adapted thousand years old Martial art form into an actor training methodology where actors could be trained to perform contemporary theatre.<\/p>\n

I first got to know about Zarrilli\u2019s work when I started reading my Master\u2019s degree at Flinders University, South Australia with Professor, Julie Holledge\u2019. That was in early 2001. I started reading literature related to actor training and Julie directed me to Zarrilli\u2019s ground breaking book\u00a0Acting (Re) Considered<\/i>\u00a0(1995) which was an eye-opener for me to learn about my own inheritance of various performance cultures and their philosophical underpinnings that have not been exposed to me as an apprentice. I was mesmerized and also fascinated by how an author could write so intelligently about \u2018performance\u2019 which was not a major discipline in the larger context of humanities and social sciences at the time. Zarrilli\u2019s insightful discussion about mind, body and Asian somaesthetics continued to fascinate me. Reading his papers on Asian actor training further opened up many avenues for me to explore various theatre traditions and theories related to body and performance.\u00a0<\/span><\/p>\n

Zarrilli first came to India under a fellowship to study Asian corporeal arts a few decades back. For less than half a century, he had mastered and taught\u00a0Kalaripayattu<\/i>\u00a0Martial arts in Kerala and also developed an actor training methodology through martial Arts to teach actors who performed in contemporary theatres. Zarrilli\u2019s intervention in Asian martial arts and other performance practices such as\u00a0Kathakali\u00a0<\/i>dance dramas are well documented and articulated in research papers and in some of the books that he has written over the years. His books such as\u00a0Kathakali Complex\u00a0<\/i>(1984),\u00a0Kathakali Dance Drama: where Demons come to play<\/i>\u00a0(1999), and\u00a0Acing (Re) Considered\u00a0<\/i>(2002) encapsulate wealth of knowledge and research insights that Zarrilli has produced through his firsthand experience and field research in India.<\/p>\n

Zarrilli was a regular faculty fellow at the National School of Drama (NSD) in New Delhi. In 2010, he again visited the NSD where he was supposed to conduct a week-long actor training workshop for students. This workshop was conducted as a part of the\u00a0Bharath Rang Mahothsau<\/i>, International Theatre Festival. During that time, I had a chance to witness his actor training sessions with Indian students. Furthermore, I did a lengthy interview with Zarrilli on Asian actor training methodologies and this interview was later transcribed and published in my book\u00a0Meditations on Acting: Essays on Theory Practice and Performance<\/i>\u00a0in 2016. Zarrilli\u2019s deeper understanding of Asian corporeal arts and somatic culture was compelling. His meticulous studies on Indian theatre, somatic culture of India, and their adaptations for contemporary practice of actor training came through his firsthand experience with Indian masters and his assiduous practice and embodiment of\u00a0kalaripayattu\u00a0<\/i>martial art in Kerala.\u00a0 \"\"<\/a><\/p>\n

During my interview at NSD, New Delhi, the most compelling key term he used to describe the craft of acting was\u00a0breath<\/i>. He continually explained about the etymology of the term breath and described the\u00a0Sanskrit<\/i>\u00a0meaning of \u2018pr\u0101na<\/i>\u2019. Zarrilli understood that\u00a0pr\u0101na\u00a0<\/i>relates to the idea of life and\u00a0actor\u2019s emotional engagement. Further, he argued that the best way to describe the actor\u2019s task is \u2018being surprised.\u2019 As Zarrilli further explained, \u2018being surprised\u2019 is the ultimate ontological stance that an actor could achieve. It is all about becoming and transcending daily behavior to non-daily behavior. When the actor transcends herself to \u2018being surprised\u2019, then the audience member becomes \u2018being surprised\u2019. This is the autopoiesis formula that thrives the theatre for thousands of years; it is the co-presence that engages the actor and audience together.<\/p>\n

In 2008, Zarrilli published his award-winning book \u2018Psychophysical Acting: An Intercultural Approach after Stanislavski<\/i>\u2019. In this work, Zarrilli weaves a tapestry between Stanislavskian actor training to body-mind practices and also his own exploration of\u00a0kalaripayattu\u00a0<\/i>martial art as a psychophysical training tool. In America, the actor\u2019s work was heavily influenced by the psychological approaches when Zarrilli started working as a graduate student. But Zarrilli\u2019s intervention in Asian martial arts and\u00a0kalaripayattu<\/i> training as a contemporary actor training method has later challenged the domination of psycho-centric actor training in America and other parts of the world. Zarrilli published his final and most composite and philosophical grounded book,\u00a0(toward) a Phenomenology of Acting<\/i> in 2019. Throughout his teaching and performer training career, he has always referred his connection to phenomenological philosophy, particularly Merleau-Ponty\u2019s philosophy. In his book\u00a0Acting (Re) Considered<\/i>, I first encountered his affinity to phenomenology and its applications in understanding the actor\u2019s art. Referring to Sonia Moor\u2019s book,\u00a0Training an Actor: The Stanislavski\u2019s System in Class<\/i>\u00a0(1979), Zarrilli questions the problematic nature of psychological realism and its impact upon the acting theory in the West. Reading Merleau-Ponty\u2019s philosophical text,\u00a0Phenomenology of Perception<\/i>, Zarrilli discusses the importance of reaffirming the role of the body and its prominence in performance. Zarrilli further explores how the actor\u2019s body plays a key role in the experiential world of the actor and how the mind incarnates in the body.<\/p>\n

I am still \u2018being surprised\u2019 by the sad news that Zarrilli has passed away. This news is still haunting in my psychophysicality when I recall that Zarrilli is not with us anymore.\u00a0Zarrilli has left a wealth of writing and his life-long accumulation of Asian theatre practices.\u00a0His writings, his teachings, and his metaphysical being will be with all the actors, theatre lovers, and scholars who are genuinely involved with theatre and actor training in Asia and elsewhere. Today, an unknown apocalyptic plague has taken many lives in the world; theatres and performance spaces have temporary been closed. The darkness has dominated the proscenium. Yet, one-day when theatre begins to unfold again each night, Zarrilli will come as a breath and enliven our lives on stage unnoticed, as invisible\u00a0pr\u0101na.\u00a0<\/span><\/i><\/p>\n

*Saumya Liyanage is a professor in theatre and Drama and currently working as the Dean of the Faculty of Graduate Studies, University of Visual and Performing Arts, Colombo, Sri Lanka.<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"

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