Małgorzata Grund-Bismor from Teatr A (Poland), new member of My-Ma International Scientific Committee, reflects on a long artistic journey shaped by movement, symbolism, and spiritual inquiry. Drawing inspiration from Eastern theatre and martial arts, the author explores the expressive power of the body and the timeless emotional intensity of the mask.
Kung fu is embraced not only as a physical discipline but as a path of continuous transformation toward artistic perfection. These influences converge in a personal stage experiment that unites visual, choreographic, and spiritual dimensions. Rooted in Christian spirituality, the author finds harmony rather than contradiction with Taoist philosophy. The performance “Niewiasta Matka” (“Virgin Mother”) emerges from this synthesis, embodying the union of strength and gentleness, like yin and yang, in the universal image of the mother.
BODY, MYTH AND MASK
During a long, artistic journey through a world of concepts, images, and ideologies, I became fascinated by the movement of the body. The rich diversity of the structural elements of Eastern theatre has become a source of my stage inspirations. I am drawn to the simplicity and the concentrated emotional message of the mask, which has endured unwaveringly through thousands of years of theatrical evolution worldwide. The phenomenon of movement in Eastern martial arts, combined with the symbolic elements of Asian theatre, gives rise to a multitude of visual and sensory impressions that I bring to completion in a stage experiment. From the broad range of theatrical means of expression, I choose kung fu. It becomes an answer to the whole of my acting aspirations by motivating a broadly understood development of skills. The original meaning of this concept encompasses kung fu as the human being – an artist – moving toward perfection through a path of unceasing transformations. Drawing on experience and observation, I attempt to create a new and deeply personal quality. Myself, firmly rooted in the world of Christian spirituality, I see no contradiction between the meanings carried by these intellectual and spiritual environments. I find within them a network of shared pursuits, the essence of which I try to clothe in the visual and choreographic form of the performance. In my view, a remarkable reflection of the Taoist merging of opposing forces is the image of the mother. The concept of the mother evokes associations that are universal across cultures. A mother is a perfect synthesis of strength and gentleness, much like yin and yang in the philosophy of kung fu. Thus, opposing forces, embodied in the figure of the mother, unite into a coherent whole – hence my choice of theme and creative space for the performance „Niewiasta Matka” [Virgin Mother].
Laboratory of „Niewiasta Matka” performance.
The contemporary stage is increasingly returning to its roots, rediscovering that the most precise dramaturgical instrument is not the word, but the actor’s body. In this space, the mask does not function as an element of camouflage, but as a specific “lens”. It does not cover the performer – it exposes them, forcing them to find truth in every inch of their body. Myth is not treated here as a dead story, but as a living structure present in the body of contemporary man. The key tool in this exploration is the mask – an instrument that imposes rigour on the actor and „reprograms” their physicality. It enriches and transforms the performer, making the search for truth in gesture a priority, while the face hidden under the material gives priority to the expression of the whole body.
This approach forces the abandonment of superficial facial expressions in favour of a precise score of gesture, breath and posture. The mask becomes a universal language of communication, understandable beyond linguistic barriers. Narratives based on universal archetypes, such as the struggle between good and evil, are an excellent field for such exploration. In order to convey the dynamics of the clash of metaphysical forces, physical theatre often draws on the aesthetics of Asian martial arts theatre, where the body is the foundation of acting. In Asian theatre, gestures are strictly defined signs with specific meanings and senses. They are often passed down from generation to generation and may only be understood by viewers familiar with the specifics of these signs. They are elements of a highly developed professional skill set, treated with the utmost care. Every body gesture performed by an actor has a meaning; it is a form of pantomime whose purpose is to convey ideas that realistically depict dramatic scenes.
In this system, the actor expresses their feelings using symbols and strictly defined movements, based on the canons of gesture codified and contained in the so-called Kata patterns. These include means of acting expression: from dance and acrobatics to gestures used to express sadness, helplessness, joy or fighting spirit. These gestures, often rhythmic, are linked to the sound of the voice and instruments4. Finding similar codes in kung fu – such as in the Chinese classical form of the little dragon from the Shaolin Kempo system or the Vietnamese forms of Vo Quyen bach hoc (Gruidae) or hu hung (tiger) – we can see how the dynamics of combat allow abstract concepts to be translated into specific, precise movements.
In this context, the mask is inextricably linked to the character; any change to it signifies a transformation in the character’s personality or physicality. It is a meaningful object, shrouded in mystery and covered in subtle colours. The facial expression can be very enigmatic, combining various emotions – sadness, cheerfulness and wisdom. The mask on stage constantly attracts the audience’s attention, forcing the actor to mobilise all his skills. The synergy of these elements creates a space in which the boundary between an experienced performer and an amateur is blurred in favour of a coherent, powerful image. The mask becomes a “democratiser”: for some, it is a shield that allows them to overcome shame, for others, a challenge that refreshes their acting skills.
Małgorzata Grund-Bismor
Teatr A (Proscenium)(Poland)
STOWARZYSZENIE KULTURALNE PRO-SCENIUM
ULICA OLCHOWA 48
Postcode 44-100 GLIWICE (PL)
Ph. +48 792 773 760
bismor.adam@gmail.com
www.teatr-a.art.pl
