Why Theatre Yoga

 

The Alchemy of Theatre and Yoga

 

The name Theatreyoga is a term used to describe two disciplines merging together. However, it might also have been called Tao or Zen or Dharma or Consciousness or Moksha or I Ching or Jnana or Qi or Sadhana or Tantra or Sufi or Yana or any other human names given to describe an approach to the indescribable condition of Allness. The word Theatreyoga seems to have chosen itself. It is a modern term and resides comfortably in the Space-Between the two popular, time-honoured and vastly contrasting disciplines.

Theatreyoga uses exercises, practices and tools from the two forms, however Theatreyoga is neither theatre nor yoga as we know it in contemporary society, but rather a synthesis of the elementary characteristics of both. In essence, they are complementary traditions. When placed together, they can reinforce each others brightness. This is similar to when complementary colours, such as magenta and green, overlap each other and make White light, or when placing burning logs together – the energy becomes greater than the sum of its parts.

Theatreyoga harnesses the Yoga qualities of devotion, discipline, strength, structure, and the warrior’s edict – to serve, using traditional yogic physical postures and practices. The Theatre characteristics of collaboration, enquiry, celebration, story and myth, catharsis, and the occasional flavour of anarchy, create a versatile experimental arena. The process strives to induce the Alchemy of the Yin and the Yang of the Allness to be investigated.

Theatreyoga is ultimately a playing field, like in the film The Matrix, where one can break conceptual barriers, challenge the rules of form, and create a new subjective reality. In Theatreyoga we must first learn to play. Playing makes us familiar with ourselves and with others, and reduces the layers of egoic defenses, allowing a deeper work to unfold. We can explore the distant past and the distant future, and remain in the here and now. By traversing the vast extremes and the Space-Between we are more likely to come across our true home.

Theatre is the most important sort of house in the world, because that’s where people are shown what they could be if they wanted, and what they’d like to be if they dared to, and what they really are …

…. Tove Jansson

It’s pleasing to discover that it isn’t necessary to drive oneself forward; instead, one can simply allow oneself to move forward as blocks are removed. Thus, one becomes attracted by the future rather than propelled by the past.

…. David Hawkins