In 1992 he invited me to go back to Japan and train as a teacher of that methodology and I’ve been teaching it ever since. Even the one who stood for an hour and 10 minutes without moving! So I wrote to Suzuki and asked if I could participate in some kind of training with his company which I did in 1991. What is it that they do that enables them to harness this kind of energy, this kind of presence and make not just the principals interesting and able to engage your attention? Even those who didn’t speak a word.
What excited me most about seeing that show and the demonstration of the method of training afterwards on stage was that although Suzuki was working with something like 35 people on stage it was possible for me to look at every single person and feel, wow, I’m getting something from every single one of them. The Suzuki Company came to Australia in 1991 and performed The Trojan Women. So I found the classes most enjoyable and useful. I started in 1989 doing classes with Nigel Kellaway who was probably one of the first Australians to go to Japan and study with Suzuki Tadashi and his company at Toga. My specialty is the Suzuki Method otherwise known as stomping. How aware of it are we? How useful have those training methods been and what particularly attracted you to the particular discipline? I wonder, can we feel our training in our body. Tapes had to be changed and we ran out towards the end. This transcript records most of the discussion, but not all of it. Visiting scholars and artists from Victoria, Queensland and Western Australian joined in the dialogue which was informally hosted by director and performer Nikki Heywood and RealTime editor Keith Gallasch.
#Blue water drift dive david herpich series
At the fifth of the RealTime-Performance Space series of forums for artists working in contemporary performance, 50 performers, academics, emerging artists, students and teachers of a range of skills and body regimes gathered to discuss the meanings, functions, effectiveness and availability of training.
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