Somatic Praxis of Dynamic Postural Reorganization in Investigative Approaches of the Scenic Body

ABSTRACT

This article discusses the contribution of Dynamic Postural Reorganization (DPR) to the scenic body from the perspective of theater and dance artists. The study develops a dialogic approach to this somatic technique and shows how, in their perception, sensorimotor and affective-cognitive propositions promote sensory refinement, scenic presence, and the activation of states of awareness. Special emphasis is placed on the work with slow tension, the technique’s main strategy, which, in addition to expanding tonic and expressive resources, facilitates the transit between the scenic material and the somatic work. The issue of autonomy in the relationship with somatic techniques and practices is revisited to conclude that this is a hallmark of DPR, reaffirming its potential to generate individual and collective agency, with strong applicability to the investigation of the scenic body.

Keywords:
Somatics; Dynamic Postural Reorganization; Scenic Body; Body Awareness; Autonomy.

RESUMO

O artigo discute a contribuição da Reorganização Postural Dinâmica (RPD) para o corpo cênico, do ponto de vista dos artistas do teatro e da dança. O estudo desenvolve uma abordagem dialógica dessa técnica somática e mostra de que maneira, na percepção desses artistas, as proposições sensório-motoras e afetivo-cognitivas promovem o refinamento sensorial, a presença cênica e o fluxo de estados de consciência. O destaque especial é para o trabalho com a tensão lenta, principal estratégia da técnica, que, além de ampliar os recursos tônicos e expressivos, facilita o trânsito entre o material cênico e o trabalho somático. A questão da autonomia na relação com as técnicas e práticas somáticas é retomada, para concluir que esta é uma marca da RPD, reafirmando o seu potencial para gerar agência individual e coletiva, com forte aplicabilidade à investigação do corpo cênico.

Palavras-chave:
Somática; Reorganização Postural Dinâmica; Corpo Cênico; Consciência Corporal; Autonomia.

RÉSUMÉ

L’article traite de la contribution de la RPD-Réorganisation Posturale Dynamique au corps scénique, du point de vue des artistes de théâtre et de danse. L’étude développe une approche dialogique de cette technique somatique et montre comment, dans leur perception, les propositions sensorimotrices et affectives-cognitives favorisent le raffinement sensoriel, la présence scénique et l’activation des états de conscience. Un accent particulier est mis sur le travail avec la tension lente, stratégie principale de la technique qui, en plus d'élargir les ressources toniques et expressives, facilite l'interposition du matériel scénique avec le travail somatique. La question de l’autonomie dans la relation aux techniques et pratiques somatiques est revisitée, pour conclure qu’il s’agit d’une caractéristique du RPD, réaffirmant son potentiel à générer une action individuelle et collective, avec une forte applicabilité à l’investigation du corps scénique.

Mots-clés:
Pratiques Somatiques; Réorganisation Posturale Dynamique; Corps Scénique; Conscience Corporelle; Autonomie

Somatic techniques and practices have an important presence in the Performing Arts, and it is becoming increasingly necessary to understand how each particular technique or practice contributes to the scenic body. This means understanding, especially from the point of view of performing artists, how they interact with a somatic technique and what results it produces.

In this article, we present a study of Dynamic Postural Reorganization (DPR) (José Antonio de Oliveira Lima, 2010; 2020) and its dialogical interaction with performing artists. The focus is to highlight how this technique promotes investigative processes of the scenic body, so as to constitute effective support for training and professional practice in this field.

Dynamic Postural Reorganization is a somatic technique created by José Antonio Lima¹, one of the few created in Brazil (Bolsanello, 2020). This study considers our pedagogical practice with DPR, which has taken place over twenty years, in various contexts in Higher Education, through both intensive and extensive experiences involving performing artists and students, spanning from initial training to advanced refinement within the field of embodied performance. Our training in this technique took place within the experimental group with which Lima developed the technique, and was therefore concomitant with its systematization. This article is therefore an autoethnography, also (Fortin; Mello, 2009).

Our approach to the technique consists of developing laboratorial experimentation together with a dialogical practice with the performing artists, so that the reflections produced allow us to scrutinize the investigative processes of the scenic body from their point of view, as we will present.

As Fortin (1999) points out, the applicability of somatics to the performing arts is related to the possibility of transferring learning from one context to another², in other words, the somatic technique is effective when, in addition to promoting gains related to an immediate goal within performance-making, it also enables the individual to reclaim a deeper knowledge about themselves, their body and their movement, in order to expand their resources and possibilities related to scene.

We are therefore talking about the capacity of a somatic technique to promote the autonomy of subjects, as an indication of a “profound change of attitude in the way of thinking about the body” (Fortin, 1999, p. 48). In this sense, what indicators should be considered to assess this autonomy? To what extent is the somatic technique capable of promoting the appropriation of practices as a praxis?

There are studies on the contribution of specific somatic techniques and practices in the Performing Arts³, mainly in the field of Dance⁴, and a smaller number of studies on Theater⁵ and the Performance⁶; in the field of Dance, somatic practices and techniques have practically become a subdiscipline in the training of dancers (Green, 2002a; 2002b; Fortin, 1999; 1998; Eddy, 1991; 2018). The importance of these studies is that they enable detailed and comparative analysis, as well as guiding choices (Lobel; Brodie, 2006).

Beyond the specificities of each field, theater, dance and performance, our focus of interest is to erase these divisions by highlighting what runs through them: the scenic body. We have been discussing the scenic body as a vector of experiential knowledge, shaped through the process of bodily creation on stage and constituting a continuous, open-ended research field. As a field of investigation, the scenic body is stressed by the processes of creation and preparation, which expand corporealities into new territories and often challenge their own bodily and existential limits. How can somatic techniques and practices offer immediate alternatives for addressing these challenges? How might we tangibly engage with this interaction?

In the notes prepared by Eleonora Fabião (2010), in her laboratory approach to the scenic body, two key parameters emerge that characterize it: scenic presence and the flow of states of awareness. These parameters motivate the questions with which we worked on the individual investigation, and which will serve to track the relationship between the performing artists and the DPR, as we will present. Other specific questions will examine carefully these parameters and try to analyze the relationship with the technique.

For the analysis that follows, we will first present the principles of DPR and then the reports that make up the dialogical practice with the performing artists about their experience with this technique.

DPR - Dynamic Postural Reorganization

The Dynamic Postural Reorganization (DPR) is a somatic technique created by Lima (2010) using knowledge from health, arts and education. The technique was developed together with a movement research group formed by students of the arts of the performing body⁷, in a laboratorial and dialogical way, which was crucial for its systematization, and its experimental field continued within educational environments of the arts of the performing body. This is an important differentiating factor, as DPR developed from questions and the search for answers linked to the scenic body⁸.

In this presentation of the technique, we’re going to quote Lima in full, to make it easier to understand.

DPR is based on the concept that bodily movement is the momentary result of multiple processes involving the evolution of the species, the development of the individual and the social group they belong to, and the way they relate to each other, within processes which are constantly coevolving:

The movement of an individual at a given moment depends on the one hand, on the evolutionary line of their species, on their own development as an embryo, fetus, etc. and, on the other hand, on how that individual fits into the universe of legal, moral and ethical norms that surround them and their background. And the way they relate to them: passively, submissively, rebelliously, actively or passively accepting, actively or unaccepting. If it were possible to trace these processes, the end product of this search would be a survey of his/her somatic and social genealogy, in terms of the singularized movement in his/her action (Lima, 1994, p. 60-61).

Thus, the encounter with this technique provokes questions about the individual’s history up to that point, highlighting the bodily techniques that have changed them - both stage performance techniques and everyday life techniques (Mauss, 2017) - and the conditioning that has produced motor and sensory habits, all in perspective of the species’ potential. For example, the upright posture is an evolutionary achievement of the species, but the actual realization of this posture results from the individual’s learning in the first year and a half of life, when the baby performs a series of experiments and learns to stand up, followed by the individual’s set of relationships up to that point. DPR shows in practice that standing upright is a daily achievement, as well as a momentary one, because it is virtually a power to be realized with certain very specific muscular actions. Thus, the technique proposes reactivating the forces that the body has to perform in order to remain upright⁹.

The initial proposals of Dynamic Postural Reorganization are strategies for enhancing these forces and experiencing what Lima called the “postural intention of Homo sapiens”, through a series of requests that teach the individual to transform “passive” support into more active support, effectively pressing against the surface of the floor.

This premise results in the following understandings: firstly, posture is organized by the action of pressure against supports; secondly: all movement is antigravitational (Lima, 1994):

The active pressure of the feet against the ground causes the ground to react against the feet, the foot pushes the ground, and the ground pushes the foot. This ‘pushing’ manifests itself on each body segment, pushing the whole body upwards, thereby giving the body an anti-gravitational force that is identified in each individual’s body attitude [...]. Standing is an active condition of the body’s musculature, ultimately reflected in the pressure of the feet on the ground or on a point of support. It’s more than just lifting the head or protruding the chest. On the other hand, everything tends to change with the proper pressure of the feet against the ground, even with the head down and the chest not protruding, always giving the postural ensemble the chance to take advantage of the antigravity force that never ceases to impress us (Lima, 2010, p. 102).

The premise is that these relationships were in place during the evolution of the bipedal posture in the species, when the individual used their senses both to locate food and to perceive danger¹⁰, but changes in the environment and forms of production have led to a sensitive loss, which results in anesthesia of the body’s receptors, which in turn has resulted in a loss of body tonus:

The feet now tread on ground that doesn’t present constant surprises. [...] It has lost its natural state of attention. This absence of ‘educating’ stimuli makes the body uninterested in its surroundings, in identifying the environment and its characteristics. This disinterest makes it negligent, and the proper and organized tonus to maintain the movement potential that belongs to it is lost. This loss exposes them to a passive process of developing dystonias of greater or lesser magnitude, a vicious circle sets in, with the dystonias causing greater inability to read the environment and this translating into more intense kinesthetic disabilities. Behind this whole process is the dominance of production relations as a shaper of behavioral patterns with an immediate impact on the individual’s ability to recognize themselves as a reflection of their true potential (José Antonio de Oliveira Lima, 2020, p. 214-215).

In this way, DPR proposes rebuilding a more active condition of the whole body, in the sense of awakening sensory-motor and affectivecognitive relations, with which new ways of being are sought at every moment. This work, which will be detailed in the next section, focuses on the action of antigravitational forces during body movements, with the aim of putting pressure on the supports and reaping greater support for the center of gravity.

A key point of the technique is to find a tonicity that guarantees tense, slow movement in order to support parts of the body, especially when transferring support. This quality of movement, which Lima calls slow high tonus movement (Lima, 2010, p. 108), refers to the tonic condition that favors a state of readiness:

Slow high tonus is a way of making movements. It’s a body state that makes it easier to become aware of them. The most important thing, at first, is to find what degree of tension is enough to give the muscles a differentiated tonus and at the same time allow them to move. Identifying from the tonus that allows us to perform these actions, that we can find the necessary tonus for other movements or other body attitudes. All the so-called ‘free’ movements in the following exercises should be performed at a slow speed (Lima, 2010, p. 108).

A fundamental strategy of DPR, slow high tonus movement is “the main factor responsible for the process of postural reorganization” (Lima, 2010, p. 153), which is why the technique proposes various exercises designed to develop this “phenomenological field” of movement, which cannot be summed up in one quality, and which are detailed by Lima (2010, p. 149-150). Slow high tonus movement, or slow tension, occupies a large part of the routine work with the technique, which, once installed, provides an obvious gain in support and perception during movement; this work can be done on each individual’s movement repertoire, and it is possible, for example, to take (virtually) any sequence or score of movements from your scenic work and perform it in slow tension, for study purposes.

Many practical proposals are derived from this introduction, but the primordial of the technique occurs according to these bases and principles, which we have organized here in an abbreviated presentation for the purposes of this study¹¹.

It is important to note that although the technique works with statements about the body/movement, a specificity of its method is that it doesn’t work with universal truths¹². The technique’s propositions are provocations which individuals have autonomy over; they are open questions whose answers can vary according to the criteria to be validated by each person. This shows the breadth of expectations. In addition to specific results about the scene, the technique seeks to reflect on the subject and their way of being in the world, which will have an impact on their actions.

I consider that the role of somatic education is, from the sensory-motor and affective-cognitive experience visited by the method, to make the individual aware of their body, their capacities, their potential, allowing them to reflect on what they do. There will be times when the realization of desire, which is very present in dance and music, will imply the aforementioned deviation, a contradiction whose resolution is an intimate attribute, and it is important for this individual to be aware of themselves and to be able to choose this path and with this understanding. The autonomy that self-understanding lends the individual in the construction of their choices (José Antonio de Oliveira Lima, 2020, p. 216).

Therefore, “the autonomy of the subject and their critical awareness of themselves, their body/movement” is a corollary of the technique (José Antonio de Oliveira Lima, 2020, p. 211).

Another important aspect of autonomy is that, unlike most somatic techniques, Dynamic Postural Reorganization does not adopt models or sequences of preconceived movements, in other words, the work essentially takes place on each individual’s movement repertoire.

Next, we will describe and comment on the work with DPR in pedagogical practice with performing artists, from which we gathered perceptions about the effectiveness of the technique in promoting investigative processes of the scenic body.

Somatic practices as open questions

The approach we have developed in our meetings with performing artists around the practices of DPR has an initial focus: finding an individual praxis to support both creative work and preparation for performance. The idea is that each individual, through a dialogical process, can create their own praxis based on the practices presented, managing them according to their needs, with the posture of a self-investigator.

The working methodology consists of following the DPR propositions and observing changes in the body, in movement and in the individual’s perceptions and reflections about themselves and their practices. The dialogical process involves asking open-ended questions and collecting observations qualified by experience, based on awareness of the body in action.

Some of the questions posed for reflection are: how do DPR promote sensory refinement? What parameters of perception and movement does it sparks? What are the results (what changes do you notice in your body/movement)? How does sensory-motor work reflect on states of presence and awareness? How does this technique interact with your specific (individual) performing work?

Our teaching practice is based on the DPR proposals, a full description of which can be found in the original work by Lima (2010), supplemented eventually by some dynamics, which are small contributions to the technique from our research, as we will comment. The development we will describe below is one possible chain, and there are many others.

The first control position is standing with the feet parallel. Next, are asked to grasp the floor with your toes and notice what happens to the structures: in the feet, the muscular forces cause the three arches (medial, lateral and transverse) to rise, highlighting the three points of support that concentrate the greatest pressure against the floor (see Calais-German, 2010, p. 296). Subtle external rotation movements also occur in the knees and the hip joint, along with a slight pelvic tilt, all of which contribute to enhance upright posture.

Next, we perform static and dynamic exercises focusing on the relationship of the feet and ankles, which aim to bring awareness of the events and relationships between these structures (see Lima, 2010, p. 111-114), as well as recovering an active and attentive condition in relation to the environment. For example:

- With the foot fixed on the ground, small movements of external and internal rotation of the ankle are made. At first, this movement may be difficult to complete, but if you remove the local tension and repeat the intention, you can see that a wide external rotation of this joint is possible. This movement reaches its limit when it becomes apparent that the pad of the first metatarsal is about to lift off the ground during external rotation, and when the outer edge of the foot is in an identical position during internal rotation. The exercise can be done on either ankle or both ankles at the same time (Lima, 2010, p. 111).

We continue walking, maintaining the elevation of the arches, now paying attention to alignment during weight transfer, so that the movement follows a straight line from the heel to the front of the foot. Awareness of the movement is refined in the exercise of speeding up and slowing down the walk, trying to maintain the alignment and distribution of the weight and noticing how the articulation of the footstep occurs, in the succession of supports of the regions of the sole of the foot.

In the sequence, we introduce pauses in walking and highlight the oscillation of the axis of gravity, how it projects forward to start moving. We continue with exercises for the knees and hip joints, the pelvic girdle and trunk, the head, neck, shoulder girdle and arms, which are described in Lima (2010, p. 114-147) and we will not go into detail here.

Next, we move on to working on muscle tonus. This work begins with various propositions at a low level, using contact with the floor to experiment with different forms of support and to generate rising of tonus, which will be used to build a path up to the high level; once standing, the dermal sensitivity of the entire surface of the body is added so that “the sensation that the air is dense is built up and that any movement will require effort to break through it” (Lima 2010, p. 150). This whole progressive journey corresponds to the development of slow tension. There are many exercises for this purpose and the interesting thing is to explore the various ways of “go into” (see Lima, 2010, p. 149-150).

Starting with the establishment of slow tension, one of the possible developments is to ask each person to choose four body positions in space, comprising at least one lying down, one seated, one on for supports and one standing. These positions should be static, like photographs, arranged in sequence from one to four. Then, the proposal is to go through the positions stopping at each, with the freedom to change the order between the positions, until the one you prefer is chosen. So, it is proposed to progressively slow down the sequence, then gradually return to the starting speed, then progressively accelerate and finish at the starting speed, as follows:

- From the lying position, move on to the other positions up to the standing position and return to the lying position, also passing through each positionTransitions from one position to another should be executed over 8 counts for each movement. Repeat the sequence using 4 counts per transition, then 2 counts, and finally in real time. Then, repeat the sequence again, progressively increasing the duration back up to 8 counts. Repeat the whole series three or four times.

- Move from the lying position to the standing position, in continuous movement, in 8 counts, return to the lying position in 8 counts. Repeat in 16, then 32, and 64 counts. Repeat, decreasing the durations to 32, 16, and 8 counts, then introducing 4, 2, and finally real-time transitions for each upward and downward movement. Repeat the series twice (Lima, 2010, p. 151).

There are a series of developments that allow us to explore slow tension as a working proposal, in continuous long sessions (over 45 minutes). In the first sessions, we start by exploring free movements and, in the following sessions, each person is invited to bring fragments of their scenic work to serve as the basis for the next developments. Some variations include the Cardume (Shoal) exercise and Caminhada em grupo com objetos (Group walk with objects), which are original contributions of ours, as possibilities for adapting slow tension to different situations and purposes¹³.

Our sessions with the DPR began with premises and questions about the scenic body, followed by a body laboratory, and ended with perceptions and dialogical reflections, which will be commented on below.

The DPR and the investigative processes of the scenic body

The laboratories exploring Dynamic Postural Reorganization, conducted with dance and theater artists, have produced perceptions and reflections emerging from engagement with the technique. In this dialogical process, each person was invited to reflect on and share their observations about what the encounter with the technique had provoked: in their body/movement, in their stage performance and in their way of being in the world.

Some of the questions we have posed in this reflection encourage the observation of how the technique promotes sensory refinement, what parameters of perception and movement the technique favors, what effective results of bodily changes are observed, what is the relationship between sensory-motor work and states of presence and awareness; in addition, see how this technique interacts with (your) specific performance work (of each individual). As we said earlier, the questions reflect the parameters of scenic presence and (flow of) states of awareness, according to Fabião (2010).

The reports gathered here are from Performing Arts¹⁴ graduate students, who we have brought together in order to get a closer look at their aspects. Some of the most significant records and comments have been selected by theme, which we list below:

1. DPR’s propositions produce scenic presence:

My state of presence was entirely on my feet when I simply remembered that there was a floor beneath me and that I needed to grasp it to keep my whole body, internally and externally present [...]. Watching myself became a strong and true engine of transformation, and the production of richness in the discovery of movements made a strangeness that had previously been analytical in nature work, to emerge as a product of body language (Isae, theater artist).

How can being connected to oneself, one’s physicality, memories, narratives, emotions, without fear, in a state of attention without preocupation, strengthen us artists to face and surrender to the vulnerability of being on stage? (Rose, theater artist).

Just asking yourself changes the path, and in order to establish a transformation, of course I need repetition, but not the idea of mechanical repetition that leads alienation of perception, on the contrary, repetition that keeps perception alive during the movement, this is how proprioception and body perception are worked on (Antonio, theater artist).

2. The relationship between everyday body and scenic body becomes conscious:

This scenic body, in a scenic state, in an expanded state of expressiveness, is made, however, with the everyday body. It is the same body in different states. And somatic education also acts enormously on the everyday body, making us integrate these states more and more and (to transcribe one of the notes I made during the classes) awakening us to the search for self-movement, constant and inexhaustible (Malu, dance artist).

It is surprising when you discover that the everyday action of walking can become something so complex when you do it very slowly (Belisa, dance artist).

3. The principles of DPR drive the investigation of the movement:

This experience stimulates sensory refinement, investigating transitions: how am I pressing the floor as the principle of all somatic practices in the case of postural reorganization? Am I creating this force on the floor? Through reaction? So, the more I press down on the floor, the more the floor will push me up? Therefore, the body posture in the line of work is a consequence of this pressure; I press down on the floor, this force starts to align, one bone on top of the other and put it in the direction of this stacking until it reaches the top of the head. Therefore, we cannot speak superficially about the principles that govern and organize thought and antigravitational force (Antonio, theater artist).

We have come to understand the foot as an organ that is not only motor but also sensory, which is active and functions like a dome that grips the ground and propels us (feet and floor) into a balanced, anti-gravitational movement, which captures and shares varied information about the environment in which it steps, so that the soma-body operates better in its decision-making [...]. And with each provocation, we perceive various possibilities for moving forward and developing sensorially refined proposals (Wilson, theater artist).

4. Working in slow tension produces fluidity, organicity and expressiveness:

The supports and tonus qualities were also the basis for thinking up a movement score for one of our performing works. After presenting the movement score, we were told to choose four images (photos) from the score. These four images could be combined in any way we wanted and had to be connected in a continuous way. After defining the connection between the images, we were asked to perform the sequence in very slow time frames. The repetitions of the score and attention to movement made the sequence more fluid, organic and expressive (Belisa, dance artist).

The movement becomes simpler (throughout the process). It’s kind of virtuosity that doesn’t require much (Rose, theater artist).

5. It is easy to integrate performing work and somatic work with DPR:

Every day I felt myself becoming more aware, more attentive [...]. And that’s exactly what I needed, cause in a few days, I was going to open my performance. Experiencing the technique brought me closer and closer to this moment that was so special to me. It was as if I could revisit, reactivate, rediscover much of what I had experienced (previously) (Rose, theater artist).

I then sharpened my gaze at my colleagues’ work, made notes and relationships with my own work, and on one occasion I was moved to the point of tears, somewhat by the beauty of the plasticity of the “cardume” exercise, which always moves me [...]. It was also remarkable and moving to see the progressive quality and refinement of my colleagues’ movements in the exercises in which they repeated their body scores, changing rhythm, direction and duration, for example. I have no doubt that somatic approaches and practices are a powerful tool for composing and “stuffing” any poetics in which a perfomring body can act (Malu, dance artist).

6. Slow tension generates a more intense flow of awareness, causing a stimulating sensation:

The process is captivating. It is striking to witness the mastery each person develops in their own movement, along with the micro-discoveries made by each individual (Rose, theater artist).

I realized that there is no monotony in the aware repetition of an action/movement, because the time we invest in that action provides us with countless pieces of information, sensations and perceptions. It is during these times of attention that internal communication processes (proprioception) are generated. This motivated me to experiment more, which led me to sharpen my selfobservation (Belisa, dance artist).

7. The flow of awareness promotes a connection with memories and images, generating poetic production:

I brought a scenic fragment that I had created in the laboratory and rehearsal process for my solo, and which at the time was structured within the exercise for the spectacle. But when I performed this cell, following the guidelines and investigative decompositions proposed by the supervisor, thinking that it would be an exercise that would give me more precision in the execution of the cell, like a preperformance rehearsal, it completely threw me off. Yes, there was an awareness and attention paid to the actions I carried out in this creative sequence, however, but it wasn’t just there. The memory of the first moment when such movements, gestus and intentions emerged was awakened in me. My body felt warm, my heartbeat faster, my eyes watered as I relived the emotions and sensations from which those gestures arose in my body. I found myself in the meaning, in the desire to put it on stage, and that made all the difference (Rose, theater artist).

(Working with DPR) has inspired research into walking and moving around the city from an affective, sensitive, artistic-creative and performative perspective. This is how attention is drawn to the importance of the basis of movements and their support, such as the efforts and mechanisms needed for us to stand, to walk, to dance… (Wilson, theater artist).

[...] embodying the metaphor, in the dynamics of sensory refinement, which is basic to somatics, which undertakes the triptych of doing - feeling while doing - realizing before starting to do. In this way, by using improvisation not as a psychological device to access and release emotions, but rather as a form of storytelling - narrating how that movement was aroused, evoked and created in that moment. Then, activating memory as both the alpha and the omega for bodily transforming and of the structure of what is being forged as a dance/performance. The aim is to make tangible and “recordable” the feelings that emerge from that written material, in the form of a script, to be staged (Ceci, theater and film artist).

8. DPR favors the recognition of singular corporealities in their potency:

As a theater artist, I have experienced various training and body preparation techniques during my formal education; many of them were not suited to my body structure [...]. Somatic practices have enabled me to return to this home-territory that is my body, to rediscover it, embracing its mutations and differences and becoming interested in its mysteries and powers, in a very long and difficult process that is still ongoing. I was able to return to myself, diving into this body [...]. By experiencing some somatic approaches, I was finally able to discover that my own body was the source and the path to healing and transmuting some of the pains I had. It was through exercises and sensory refinement work that I allowed myself to listen to and understand the signals that my body was indicating within itself, for its process of well-being. At the same time, I was able to understand who I was and what relationship the body has in a standardized and heteronormative world [...]. After this journey, I feel the curiosity and need to find and better understand this space of coexistence between my everyday body and my scenic body, discovering the flows that exist in them and that strengthen and feed the corporeality of my fat existence, in my creative, expressive activation, in my scenic body (Rose, theater artist).

And we have seen that work in this field takes place through the realization and analysis of simple movements, not necessarily stylized, acrobatic or virtuosic (Wilson, theater artist).

9. DPR favors to integrate practice with theory:

The questions that emerged from the practices helped me to reflect on the learning processes, as this (learning) process interferes in the (re)design of the research through strategies developed for the production of a thesis in dance, or a danced thesis, which, among other themes, points out the urgency of (de)bureaucratizing the body-mind through the opening up of creative processes as a means of balancing the ecosystem produced by dance agents in the world and of flexible regulation in the production of knowledge in the Arts (Sabiá, dance artist).

In the reports presented, we found concrete observations on how the relationship with the DPR takes place, considering the first-person recording of body perception, as in Thomas Hanna’s (1995) definition of soma¹⁵, complemented by collective impressions.

In this study, scenic presence emerges from specific sensory-motor propositions that generate postural changes in a chain, along with a series of activations in the general tonic state of the body, which are experienced as an activated state of attention and awareness. The practice progressively promotes greater awareness and mastery of movement, with gains in domain and body precision.

In fact, there is a recognition that specific muscular actions produce scenic presence, revealing possibilities of concrete ways to produce states of presence through practical propositions, knowledge that can be incorporated by the performing artist into their everyday practice. Furthermore, there is an immediate link between technique and scene techniques, which is not limited to this purpose alone, but encompasses the perception and action of individuals in the world in a global sense.

Next, we will expand on the theme of body awareness and how it occurs in relation to the DPR.

Embodied awareness and scenic presence in connection with DPR

The subject of awareness is central to the relationship between somatic techniques and the arts of the performing body, remembering that the flow of states of awareness and scenic presence are directly linked in the scenic body (Fabião, 2010). How is this interconnection expressed in DPR?

Artistic body techniques have the ability to stimulate awareness and attention in a special way, generating a special kind of awareness of the living body. This is the opinion of philosopher Raluca Mocan (2012)¹⁶, who has developed a phenomenological approach to the study of awareness, focusing on body awareness and the perceptual capacities of performers. The author argues that artistic body techniques, like other extra-daily practices, “awaken the experience of the body layer by layer” (Mocan, 2012, p. 39). Her interest lies in studying how the body is experienced in practice with artistic body techniques, what kind of attention performers experience in their learning and what particularities of this experience occur in the stage environment. These assumptions assertively reconnect awareness and sensory refinement, which is one of the pillars of somatic education.

In the arts, the relationship between perception and awareness in the performing body is well established. For Laban, dancing awareness emerges from the ability to perceive the sensation of the world in their bodily tissues, and enhancing this perception is at the heart of the dance experience (Launay, 1996, p. 91). Grotowski knew empirically that the experience of awareness is in the body in action and emerges from the organism as a whole (Meyer, 2009, p. 97). Pavis (2016, p. 176) talks about diving into the sensoriality of the body in action: “we perceive the actor’s tactility and of staging in general”. For Yoshi Oida (2001) “acting also involves a fundamental level: that of the body’s basic sensations” (as cited in Fabião, 2010, p. 324).

In our study, some of the participants’ reports directly link sensory refinement and the development of awareness in the body. The strategy of slow tension enhances the processes of awareness, because by performing the movement in slow time, with high tension, more detail is instantly gathered from the sensory information, generating a greater state of presence and attention. What’s more, awareness emerges from the ability to connect sensorially with objects, even those of the imagination and memory, as emerged in some of the reports.

The process of self-knowledge with DPR is intrinsically motivating, according to the reports. Angel Vianna highlights the notion that the body is an endless process of knowledge, working with the sensory and perceptual connection: “It’s a hard work, but never impossible. And the discovery is fascinating. The more you know yourself, the more you want to know” (Teixeira, 2013, p. 128).

We can thus, through the work with DPR, agree with Eleonora Fabião that awareness in movement within the scenic body is a form of knowledge - one that connects sensory information and memory through meticulous attention to the present moment. This is how scenic presence is characterized, as a state of distended alertness:

The scenic body is carefully attentive to itself, to the other, to the environment; it is the body of open and connective sensoriality [...]. Attention is a form of sensory and perceptual connection, a way of psychophysical expansion without dispersion, a form of knowledge. Attention thus becomes a precondition for stage action; a kind of distended state of alertness or relaxed tension that is experienced when the feet are firmly on the ground, rooted in such a way that the body can expand to the extreme without emptying out (Fabião, 2010, p. 322).

Vianna and Fabião’s conceptions emphasize the notion that there is no control while the dancer/ actor/ performer experiences the flow of body states in the dance/ on stage; what exists is an awareness working during this flow¹⁷. This would be the awareness of the alert state, predominantly, in which sensoriality and attention focused on the present stand out. Angel Vianna comments that perception and self-knowledge produce the sensation that all things happen spontaneously (apud Polo, 2018).

Therefore, based on various references in the field of dance, theater and performance, the scenic state is understood as an awareness in movement in the body in action. This awareness, which resembles a state of alertness (body awareness), is made up of attention to objects, including those of memory and the imaginary, with which the dancer/ actor/ performer connects through the sensoriality of their body.

From our experience with DPR, the intense flow of awareness that characterizes the scenic body in states of presence challenges somatic techniques to work with such a high level of sensory-motor and cognitiveaffective integration. So, the challenge for somatics is to work as “close” as possible to this flow that characterizes the stage state.

Dynamic Postural Reorganization achieves this challenge, especially with slow tension, a sensory-motor and affective-cognitive experiential strategy that markedly favors attention and presence. By bringing the movement into slow time with high tension, attention is turned to the details of the organization of the movement in regulating the force applied to the supports, broadening awareness of the body/movement (José Antonio de Oliveira Lima, 2020, p. 216). Then, on regaining the initial speed, perception carries with it the memory of that experience.

In summary, the reports presented in this study show that the artists recognize in practice that DPR promotes the dynamics of states of awareness in correlation with tonic-postural activation states, and recognize this gain as an expansion of self-knowledge and the practical resources of the performing body, connecting sensation, memory and imagination, and giving rise to endless processes of investigation.

Performing body: somatic praxis and autonomy in the context of DPR

In this study, based on the accounts of theater and dance artists, we have seen that the dialogical methodology with Dynamic Postural Reorganization favors the individuals’ agency in the investigative processes of the scenic body.

The contribution of somatic techniques and practices depends on their ability to give the individuals knowledge about themselves, their body and their movement, in order to broaden their resources and possibilities, as well as enhancing stage performance. Otherwise, it runs the risk of becoming compartmentalized technical work, geared towards the objectives of the somatic field, as Fortin (1999)¹⁸ warns. This is in line with Lima’s view that the role of somatic education is “to make individuals aware of their bodies, their capacities and their potential, allowing them to reflect on what they do. [...] (The important thing is) the autonomy that self-understanding lends to the individual in the construction of their path” (José Antonio de Oliveira Lima, 2020, p. 216).

Autonomy emerges as a hallmark of DPR, firstly because each individual is free to validate the results of the sensory-motor and affectivecognitive activations proposed by the technique; secondly, because the principles and practices of the technique have a broad reach, generating insights and knowledge that can be used in many practices; and thirdly because it offers the possibility of working with movements from the individual’s repertoire, rather than imposing models. Respect for each individual’s limits and valuing uniqueness are present throughout the process.

The process generated an appropriation of the DPR propositions as a praxis, which was evident from three interconnected lines: the first, the transformation of sensory-motor habits in the work of sensory refinement, in everyday life and on stage; the second, the individual’s ability to recognize the different tonic qualities as expressive resources; and the third, the ease of incorporating different somatic practices of the technique into their preparation for the stage.

The propositions of DPR and its principles are powerful and effective in promoting scenic presence and activating the flow of states of awareness. In particular, slow tension is a versatile strategy that has concrete results on the mastery and awareness of the body/ movement, showing that the experience of different tonicities produced by the organization of muscle forces in slow time can produce scenic presence, and at the same time guarantee greater fluidity, organicity and expressiveness.

We have seen that slow tension generates a more intense flow of awareness, causing a stimulating sensation. In the words of Lima (2010, p. 108), “slow tension is [...] a bodily state that facilitates the path to awareness”. It is possible to think of slow tension as a phenomenological field of movement experimentation, which deals with motor and perceptual challenges dynamically, broadening the participation of the senses and providing states of presence characteristic of the performing body (Fabião, 2010). In addition, slow tension is a device that expands the possibility of working with scenic material within somatic practice, while at the same time allowing us to glimpse the scenic as the emergence of somatic propositions. After all, in practice there is a blurring of boundaries between the two fields, somatics and the stage, in such a way that the investigative processes of movement end up being shared by the study of the performing body.

Considering the scenic body as a process of investigation in permanent coevolution, a vector of experimental knowledge driven by the making of the performing body, we understand that there is no single model to be followed, because singularities are fruitful and the scene is permanently expanding its limits. Working with the performing artist drives curiosity about what is not yet known.

Thus, we find in Dynamic Postural Reorganization the potential to generate individual and collective agency (Fortin, 2017), with strong applicability to performing body research. Not least because it is a bodywork technique that was developed in the performing arts environment to initially offer answers to performing artists.

We would also like to emphasize the laboratorial nature of working with DPR, which is based on the investigative processes of the scenic body, in line with Schialom’s (2021) reflection on the laboratory as a methodology for research in the Performing Arts. We think that, in the case of this somatic technique, it provides both pure research laboratories (for studying the scenic body)¹⁹, and also has the potential to be immediately linked to scenic creation.

Among the many techniques and methods of somatic education, few have been created in Brazil, as we have said, and DPR is one of them. This is a technique with enormous potential for the performing arts, as we have tried to present briefly in this article, and which needs to be disseminated more widely²⁰.

Notes

• 1
  José Antonio Lima is a doctor, a researcher of human body movement and a teacher of the performing arts and of the health. He has taught at the Universidade Estadual de Campinas, at the Pontifícia Universidade Católica de São Paulo, at the Universidade Anhembi Morumbi and at the Universidade Federal do Sul da Bahia.
• 2
  “The transfer of learning from one context to another must be favored by the dance teacher and by the somatic education teacher, otherwise somatic education classes risk being seen simply as a one-off means of receiving temporary relief or of providing complementary physical conditioning, rather than serving as a springboard for a profound change in attitude towards the way of thinking about the body” (Fortin, 1999, p. 48).
• 3
  Strazzacappa (2012) addressed the contribution of the field of somatics to the Performing Arts.
• 4
  Some of these studies are worth mentioning by way of illustration. Fortin & Long (2004) highlighted the use of the Feldelkrais method in dance technique classes. Fortin & Girard (2005) showed the applications of the Alexander technique among dancers. Hackney (2003) pointed out the contributions of the Bartenieff Fundamentals method to professions that work with specialized movement, such as dance. Cohen (1982) analyzed the contribution of the Body-Mind Centering-BMC method to common problems in the training of dancers. Other authors in Brazil have analyzed the contribution of BMC to dance (Velloso, 2006; Pees, 2017; De Campos, 2020; Dani Lima, 2020). Several authors highlight the contribution of two or more combined somatic techniques to dance (Eddy, 2002; Lobel; Brodie, 2006). Various authors have analyzed the Klauss Vianna technique for contemporary dance production (Miller, 2011; Brasil, 2015; Laszlo, 2018). Bolsanello (2012) presented a series of sensory-motor exercises that she develops experimentally and their application for dance professionals.
• 5
  For example, Meyer (2014) and Martins (2007).
• 6
  Fernandes (2014; 2018).
• 7
  The importance of this group for the creation of the technique was emphasized by Lima: “the students I had the pleasure of guiding, they were the ones who, even without realizing it, at every moment, including the phase in the technique already showed moments of consolidation, pointed out this or that weakness. They were the ones who asked questions that I didn’t have the answers to, forcing me to look for them (in particular, the members of the) Oficina do Movimento project (in the Dance course at UNICAMP). [...] we worked on a practical basis for 12 to 16 hours a week, including some weekends, the movements, their sequences, the sensations awakened, the facilitations in moving from one movement to another, were experienced intensely, the verbal description of the subjective impressions of the results obtained closed each day’s work. These, today professionals involved in education and the arts, were and are the main replicators and animators of the technique, even proposing the modifications they deemed appropriate” (José Antonio de Oliveira Lima, 2020, p. 208-209).
• 8
  The technique works with the idea that the performing body (and performing presence) emerges from the everyday body (and everyday presence), principles shared in some way by Klauss Vianna, Angel Vianna and Augusto Boal, with whom Lima also collaborated (José Antonio de Oliveira Lima, 2020, p. 209).
• 9
  This is how Lima describes these forces: “The support on the feet is main-tained through a muscular relationship involving external rotation of the lower limbs (LL), a postero-anterior tilt in the positioning of the pelvis driven by vertical dorsal and ventral muscular forces; in the spine, by an external rotation of the upper limbs (UL) acting on the shoulder girdle; and by the placement of the head atop the spine in a way that tends to keep the line of vision perpendicular to the spine” (Lima, 1994, p. 71-72).
• 10
  “Our body, from a physical perspective, is the same as that of our ancestors around 400,000 years ago. [...] the feet stepped on uneven ground with several surprises and in constant presence, all these sensors, associated with the joint and muscle proprioceptive sensors provoked in its structure a tonic response that put it in immediate condition for attack or escape, much greater readiness” (José Antonio de Oliveira Lima, 2020, p. 214).
• 11
  For deepening on the issue, see José Antonio de Oliveira Lima (1994; 2010; 2020).
• 12
  “If in their search the individual finds an echo in him/herself, this fact will be particular, it will be about what that individual has established as a resonance, their particular truth, a unique perception to be valued and which defines their choice as to what they identify as their own in the proposals presented” (José Antonio de Oliveira Lima, 2020, p. 212).
• 13
  These are some of the dynamics that have been echoed in our practices. In Cardume, the individuals group together in a “V” formation, with the apex at the front; the one at the front will be the first proposer, and behind him come the others; everyone must keep their gaze forward and use their peripheral vision while moving forward, in “chorus”, but not unison; the proposer must make slow movements, and the others try to “reproduce” his movements without looking directly at him, so it’s a blurred vision. The movements should be slow, as if they were at the bottom of the sea. Instead of trying to faithfully reproduce the proposer’s movements, the idea is to do what the vision perceives, as if it were an echo or blur of his movement. At the end of the course, the proposer slowly turns 180 degrees, and another proposer takes the lead, doing the same exercise, and so on until everyone has been a proposer. In the Caminhada em grupo com objetos, the group is distributed in two or three rows, keeping a short distance between them; everyone has to walk slowly forward while passing three or more objects between them. At the end of the walk, everyone pauses (“freezing” the movement).
• 14
  The authors of these reports experienced contact with DPR as students of the Special Topics in Performing Arts course, in the Graduate Program in Performing Arts at UFBA, in the first semester of 2023. The excerpts listed here, using fictitious names, were taken from the reports prepared by each participant and presented in written form.
• 15
  “Somatics is the field which studies the soma: namely, the body as perceived from within by first-person perception. When a human being is observed from the outside -- i.e., from a third-person viewpoint-the phenomenon of a human body is perceived. But, when this same human being is observed from the firstperson viewpoint of his own proprioceptive senses, a categorically different phenomenon is perceived: the human soma. […] The two distinct viewpoints for observing a human being are built into the very nature of human observation which is equally capable of being internally self-aware as well as externally aware. The soma, being internally perceived, is categorically distinct from a body, not because the subject is different but because the mode of viewpoint is different: It is immediate proprioception -- a sensory mode that provides unique data” (Hanna, 1995, p. 1).
• 16
  Raluca Mocan is a philosopher and researcher at the Université Paris-Est Cré-teil, author of the book La Perception, entre cognition e estetique.
• 17
  “The scenic body experiences potentialized space and time, and the scenic body also potentializes time and space [...]. The nexus of the scenic body is the flow [...]. The fluid and fluidifying body is the spatio-temporal matrix of the scene” (Fabião, 2010, p. 321).
• 18
  “Dance and somatic education partially converge, but each retains its own na-ture [...]. For the dancer, somatic education is therefore a means and not an end” (Fortin, 1999, p. 49).
• 19
  For Scialom (2021, p. 5), “The laboratorial dimension of theatrical practices suggests a dynamic understanding that goes beyond investigation, which takes place in artists’ studios. It also involves pure research experiments that do not necessarily [...] aim to create stage works” (Schino, 2009, p. 08).
• 20
  Acknowledgments: To the students of the Graduate Program in Performing Arts PPGAC-UFBA for their insightful notes and comments that made the meetings a fruitful dialog around the somatic praxis of DPR, especially: Ceci Alves dos Santos, Domingos Sávio Farias de Albuquerque Júnior, Isabela

Availability of research data:

the dataset supporting the results of this study is published in this article.

• This original paper, translated by Thuila Farias Ferreira, is also published in Portuguese in this issue of the journal.

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• Editor in charge:
  Gilberto Icle

Publication Dates

• Publication in this collection
  22 Aug 2025
• Date of issue
  2025

History

• Received
  20 Apr 2024
• Accepted
  27 Feb 2025