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Interview Axia “9 parts of desire” play

MARIA TSAROUCHA – “I direct the actor’s Perception”

Z.T.: Maria, you are currently directing the theatrical success “ 9 Parts of Desire” written by award-winning American playwright Heather Raffo now playing at Ergotaxion theatre in Athens.

Z.T.: Tell us about your new Perceptual Acting and Directing theory and method that you are preparing to convey to universities in America and which you have applied to this play as well as to a new play that you are directing “Alpha is tin ni, otan I Psichi synanta to Symban” in collaboration with the Hellenic Physical Society and the Hellenic Mathematical Society. Does it only concern actors?

M.T.: I was lucky enough to have studied theatre in one of America’s greatest establishments and where I was able to build very strong acting foundations and techniques. In addition, my passion for research with regard to “who I am” both on and off stage and a long-term study of self-awareness helped me form the theory and technique known as Perceptual Acting and Directing. This theory combines quantum physics with theatre and comes to answer the question of ‘Who I am’ while I am up on stage, “me” or “my character”. I have always wondered about this. Actors are always trying to discover their nature through their subconscious. I appreciate people who are not afraid to operate beyond logic. We artists are not logical creatures we operate using our sixth sense and trust everything that others are afraid of, everything that is outside of the box. We offer solutions to dead-ends through inspiration. What is inspiration? A point of contact with the fourth dimension. People who made history were nothing more than inspired people. Perceptual Acting and Directing is a way for an actor to make a leap of consciousness to his or her real multidimensional nature to everything that is contained within him, his entire being. The knowledge of the philosophy of quantum physics beyond the scientific framework and through living experience, the main way of exploring a character in a play, releases an artist and helps him understand and accept his existence.

In America, somewhat of a motherland for me, there is suitable ground for such an innovative method to flourish and be conveyed to the rest of the world.

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