ABSTRACT
When a BIPOC student is given a foundation in Eurocentric technique such as Stanislavski, along with Eurocentric characters in scenes written by Eurocentric playwrights, the student’s physical/vocal choices and diasporic, nonwhite impulses are already being colonized and therefore restricted. In this chapter, I introduce tools to decenter the colonial epistemologies within the Stanislavski Technique Method of Physical Actions (Post Emotional Memory) and its components that are potentially points of disconnection for the BIPOC actor. This work is informed from Indigenous Studies of the Americas, non-Western psychology, and praxis through the work of Chicana scholar Gloria Anzaldúa and her theory, Conocimiento.
