Psychophysical Actor Training in Higher Education -Eugenio Barba and Phillip Zarrilli in Relation to Tadashi Suzuki’s Concept-

초록

This study aims to explore methodologies for training the ‘psycho-physically integrated actor’ in performing arts and to examine their practical applicability. To this end, it focuses on the approaches and practices of Eugenio Barba and Phillip Zarrilli, while further developing the discussion in relation to Tadashi Suzuki’s principal training methods as complementary frameworks. Through a comparative analysis of these three practitioners, the study identifies shared principles and distinctive characteristics, and proposes pedagogical foundations applicable to actor training. It argues that a psycho-physically prepared state is not an innate talent but a capacity that can be progressively cultivated through systematic and disciplined training. First, the study examines Barba’s concept of pre-expressivity, highlighting that stage presence emerges when the actor’s body is organized in a particular way prior to character representation or emotional expression. Zarrilli, in turn, proposes a psychophysical integration model centered on breath, understanding body and mind not as separate entities but as a unified, organic process. Suzuki emphasizes lower-body conditioning and grounding techniques, developing methods that strengthen vocal power and concentration. Although these practitioners differ in cultural contexts and specific training techniques, they share a fundamental view of the actor’s body—and its integrated state—as both the goal of training and the foundation of performance creation. The study further considers the implications of these approaches for contemporary performing arts education. While many current acting programs emphasize psychological analysis and character construction, long-term and systematic physical training tends to be relatively underdeveloped. As a result, many student actors reveal limitations in endurance, concentration, and sustained stage presence. In response, this paper proposes the necessity of a balanced pedagogical model that integrates pre-expressive physical structuring, breath awareness training, and grounding-based lower-body conditioning, thereby enhancing both artistic expression and physical stability. In conclusion, the study suggests that psycho-physical integration in acting education should be cultivated through a sustained, gradual, and reflective training structure. Rather than replicating fixed forms or systems, it is essential to adapt core principles—such as balance, breath, grounding, and repetition—creatively to the physical conditions and learning environments of contemporary student actors. Ultimately, a psycho-physically prepared state is not a selective technique confined to a specific acting style, but a fundamental condition that enables actors to perform effectively across diverse theatrical forms and performance contexts.

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