In this article, I address the challenges that the word ‘contemplation’ has faced in modernity, particularly in the performing arts, where it has often come to designate a ‘merely passive’ attitude on the part of the spectator experiencing a performance. At the same time, I identify a relatively recent interest among artists and researchers in contemplative practices, with specific reference to forms of Buddhist meditation as a means of developing attention and perception. I defend a deeper study of traditional references based on my experience as a lay practitioner of Theravada Buddhism, drawing attention to the distortion and dilution present in contemporary culture. Procedures and exercises are proposed inspired by these practices, taking into consideration experiences and academic research developed in Brazil, with the education of the Western stage actor in mind.
training, perception, contemplation, attention, performer, theatre, Buddhism
How to Cite
Sydow Quillici, C., (2017) “Proposals for a dialogue between performative arts and contemplative traditions”, Performance and Mindfulness 1(1). doi: https://doi.org/10.5920/pam.2017.03