Prana and the actor

ABSTRACT In my previous article (Stanislavski Studies, Vol. 6, Issue 1, May 2018), based on the Practice as Research at DAMU in Prague, I described my work with actors and practitioners, using an introductory conditioning set of exercises as part of my own technique, the Yoga of Acting. The Yoga of Acting uses a three-tier system to allow the actor an experience of self, whilst imbricating that experience with the technical, mechanical and well-known challenges of the Art of acting and all it requires and demands. In this workshop, which I completed in Malta as part of the S Word, I am exploring the second stage of my practice, involving the use of the Chakra system as a guide for character exploration and embodiment in the Actor’s work. “Prana” is the sanscrit word for “lifeforce” or “vital principle”. It is also translated as “spirit”, “soul”, “respiration”, “energy” or “vigour”.1 Prana can also be called “Vital Air”, pertaining to Pranayama, the exercises of breath modulation offered in the practice and philosophy of Yoga. “By controlling the prana one can control all the forces of the universe, such as gravity, magnetism, electricity and nerve currents. Thus, prana refers to energy as the basis of all life. Thus, the objective of Pranayama is to stimulate, communicate, regulate and control the vital life force that exists in the body.”2 Stanislavski encountered this word in his studies with Hatha Yoga, and subsequently used the term “emitting rays”. This article explores the PaR around Prana explored in my workshop in Malta, including the experience of some of the participants and the wider experience of Prana.