New approaches for classical theatre performance through the application of the principles of no.60 :a case study of August Strinderg’s Miss Julie (1888)

Abstract

The objective of this study is to examine the practical application of the principle of No.60 in acting techniques to effectively embody and portray the intricate nature of the character Miss Julie. The researcher's identified issue in their acting practice is the lack of freedom in utilizing their body to convey the character's emotions during performances, leading to a sense of internal conflict that hinders their expressive abilities. Consequently, the researcher tends to rely more on their upper body rather than fully utilizing their entire physique while performing. The researcher believes that the principles of No.60 can significantly enhance their communication with the audience by effectively translating their analytical understanding of the character into a compelling performance. This research follows a practice-as-research approach, wherein the researcher examined the principles of No.60 and underwent training in these principles with Mr. Pichet Klunchun. The experiences gathered during the training sessions were recorded as academic data. The research process involved data collection from relevant literature and workshops to grasp the principles theoretically and practically. Subsequently, the researcher applied the principle of No.60 while interpreting and embodying the play's characters during rehearsals, documenting their experiences and insights. As a result, the researcher experienced a heightened sense of freedom during performances and improved the ability to convey the character's desires more clearly.