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Kata is often described as a set sequence of movements. The function
in ancient and modern martial arts may be seen as a ‘drilling’
exercise enabling participants to repetitively practice movements in
preparation for combat. The use of different energies within kata
requires appropriate changes in emotional content and creates a
connection between mind and body. The ‘drill’ becomes psychological
as much as physical when the bodily control of movement has been
mastered.
Within Asian theatre kata is used in the training of actors and the
development of character within performances that have been handed
down through generations. In the theatrical context kata, and the
movements within it, are used to portray character, feelings and
mood. The use of kata within physical theatre supports the
development of ‘physical actions’ and creates an
awareness of action that Brecht observed in his writings on Chinese
theatre. Acting within nineteenth century theatre forms and the
preceding characterisation in western theatre including the
movements understood to have been used in earlier European forms can be
regarded in the context of kata; predefined movements portray
emotional content and character.
Through examining motivation in action we are able to draw upon the
insights of key twentieth century practitioners in giving ‘real’ meaning in action. Physical action and
the ‘action of emotion’ become one through the integration of mind
and body in the understanding and realisation of kata. |