The impact of martial arts techniques used in theatre practices on the actor's stage presence

This thesis explores the potential of martial arts techniques in enhancing the actor's stage presence within the art of theater. The central premise is that physical disciplines are holistic structures that train not only the body but also the mental and energetic dimensions. The study first addresses the concept of presence on a philosophical plane, establishing a theoretical foundation through Heidegger's otion of "being-there" (Dasein), Sartre's concept of "existence," and Merleau-Ponty's idea of the "lived body." Subsequently, it examines how various martial arts techniques (such as Aikido, Capoeira, Systema, Tai Chi, and Kalaripayattu) contribute to the actor's bodily awareness and energetic presence on stage. The focal point of the thesis, Kalaripayattu, is analyzed in both its historical and practical aspects. In this context, a physical preparation model applicable before performance is proposed. The model includes components such as breathwork, balance, centering, and animal forms, each of which is discussed in terms of its contribution to the actor's psychophysical preparation. The thesis argues that martial arts techniques are not merely tools for physical warm-up, but creative resources that deepen the actor's existential presence. In this respect, the study aims to offer an interdisciplinary contribution to theater pedagogy. Keywords: Actor's presence, theatre, martial arts, Kalaripayattu, psychophysical method