ABSTRACT
The festival was part of the Magdalena Project, an international network of women working in theater, and most of the artists were members of the organization. The performers, by virtue of the demands of the performance, needed bodies that moved in extraordinary, non-quotidian ways. The training takes place on a wood floor, sometimes a Marley dance floor. They build up, in the actor, a framework of the ‘extra-daily’ body, a body that is able to shed its ordinary, habitual ways of expression and assume one that radiates and uses an extraordinary amount of energy. A body that can move in extraordinary ways, and that even in stillness is expressive and powerful. The upper body should remain unmoved by the action in the lower body: as if a division exists between the upper and lower bodies. In Shakuhachi, the quality of that energy will be manipulated, as the actor must move with a different sensibility as they walk downstage.
