ABSTRACT
Physical dramaturgy creates pathways by which the rich research, inquiries, and explorations of traditional dramaturgy can be transmitted into the actors' bodies. The world of the play is thus created both from the outside, via production elements, and from the inside, via the actor's body, breath, and being; this is the work of physical dramaturgy. This chapter examines physical dramaturgy in the context of Greek period style, specifically as employed during a rehearsal process of Euripides' Medea at the University of South Dakota. It approaches to Greek period style is heavily influenced by the work of Jacques Lecoq and Michael Chekhov, both as distinct methodologies, and through exploring intersections and fusions (often unconventional) between these two approaches. The chapter emphasizes strong connections between the actor's body and her psychology, emotions, and inner life – a concept known as psychophysical connection.Psychological Gesture with use of neutral mask to prepare actors for the particular performance demands of Greek period style.
