6:00 PM18:00

Body. Space. Imagination.

In this presentation, Elizabeth shares her working methodology on incorporated memories and the process of how the body remembers.

Reflecting on the movement, the reason for the movement and the kinaesthetic relations of the body, it draws on the techniques of Kalaripayyatu and the various Asian principles of performance as a backbone in the various performance languages possible as a development tool.

Elizabeth de Roza is an artist-researcher. Educator, theatre director, multidisciplinary artist, collaborator and theatre academy in Singapore. His training in the theatre field draws on traditional methods of training and Asian theatre execution, martial arts (Kalaripayattu) and contemporary art practices. She presented her work on various international platforms creating interdisciplinary, intercultural and cross-border works.

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9:00 AM09:00

The Body Remembers: An Excavation of Embodied Memories / IFTR World Congress, Belgrade 2018.

How do we, as a contemporary, social, post-colonial body, begin to excavate the act of recalling and recovering the buried spaces of silence within? What do these excavations reveal? Can the recovery of these buried spaces of silence go beyond the act of remembering and into the act of recalling? The act of remembering highlights the image of the mind as a keeper of memory and the act of recalling calls attention to the body more as the keeper of memory.  This call to attention to the body as the keeper of memory acknowledges that the body is a vessel through which we experience our lives. With the body as the keeper of memory, I am investigating how our embodied cultural memories are expressed through the body as a site of action, re-action and sometimes even a site of non-action within my practice as a performance maker in contemporary experimental Singapore theatre.

So, what is being expressed through the body and how do these embodied memory travel through the body? What are these embodied routes? These are questions that I will unpack as I acknowledge that the route of the embodied memory reveals a silence within and becomes a process of recalling and reclaiming. This process actually creates a space for the alternative narrative to be heard. A kind of revealing of the shadow of a tale that seemed to get buried within. This revealing highlight that boundaries are drawn and that, since boundaries are drawn, means that they can be erased; and when we start erasing boundaries, we are beginning the process of remembering.

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to Jun 12

THE AUDIO VISUAL BODY / AVBODY: Symposium on the Audiovisual Body, University of Huddersfield, 2018.

The presentation will discuss the process of framing and editing the video article The Lion and the Breath: Combining Kalaripayattu and Fitzmaurice Voicework techniques towards a new cross-cultural methodology for actor training for the Journal of Embodied Research. The presentation argues the video of the practice can provide a way of looking and witnessing the practice in the studio, articulating that through the process of editing, embodied experience, has a big stake in terms of remembering, reliving.

In the process of the framing and editing the video, my collaborators and I became aware of challenges of what is epistemological viable versus an aesthetic choice. What do we need to put in place, in order to create this sense of embodied experiential witnessing of the practice within the studio?

To create a sense of embodiment through the mediated experience of a video article, my collaborators and I had to made decisions on:

  1. Where to place the camera in the studio?

  2. What footages to use? Can they be used?

  3. What sort of framing? Wide-angle shot/ close up?

  4. How are the frames edited in order to show the process and then the actual research outcomes?   

Editing Process:

As my collaborators and I view the footages, we begin to relive the experience of remembering the practice while editing. There is a realisation that a connection between our body in the editing room and the body in the image is evident, making the editing room an extension of the studio.  This remembering allowed us to explore with multi-layers of sounds-bites and inter-cutting of the various footages. These explorations, raise and highlighted the potentiality of this audio-visual body as an extension of the experience in the studio that can help frame the studio work, the fieldwork and the findings, affecting our experience of a lived embodiment.   

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9:30 AM09:30

Embodied Research / IFTR, University of Sao Paulo, 2017.

Developing Structures and articulating the reflexive investigation of the embodied memory and the contemporary body.

In my investigation of the embodied memory, I acknowledge that embodied memory is fluid, flexible, has a variety of styles and influences, fluctuates within the body and has multiplicities of existence. My process of inquiry and experimentation of the embodied memory is shaped by the layers of cross-cultural considerations and concerns because of the complexities of structures of the subjectivity of cultural memory and history in the contemporary embodiment of my practice as meaning-making shifts and shapes across time and space.

Using the ideological frameworks or vein of Kalaripayyatu (an ancient South Indian martial arts) as a preparatory tool for rehearsals, the intuitive processes that exist in the rehearsal space and somatic practices of my current practice, I enter into the studio-space. Centring my body/mind so that I am able to move in sync with the breath. I develop a way of accessing how this can trigger a response that raises questions of embodied memory. This triggers emphasises the creation of physical actions that streams from the responses and create this natural impulse to act – which is describe here as physical actions. These physical actions are the creative processes – a discovery of an embedded memory of physical actions that can be stringed together to create a physical score. The use of the term ‘physical score’ should not be confused with the Grotowskian use of ‘physical score’, as these scores are the embodied cultural memory and are used as original personal narratives

In the space, I asked these questions:  

  1. How do we harness these triggers and evoke a flow of consciousness/memory that can articulate through the body?

  2. What are the sources of origins and essence that is triggered?

  3. Can the body articulate a new possibility, a re-writing of history and the contemporary?


Elizabeth de Roza and Dr Ben Spatz (University of Huddersfield, United Kingdom)

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to May 16


Project of Training, Research, and Devising for actors/dancers/singers/musicians

  • Lecture/demonstration: Kalarippayattu – technique and artistic creation led by Elizabeth de Roza

How the training (esp that of Kalaripayattu) leads to the embodiment of physical awareness of an actor. Investigating ‘ the point of resonance’ that is akin to ‘presence’. Through this investigation, the actor develops a physical score that works on 5 basic rules of the body-in-space (soft fireworks). This active visceral response paired with the intellectually vivid physical vocabulary of Kalaripayattu retrained the actor’s body awakened to the creation of the body in performance (image-actions).

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