In the realms of acting, there are too many processes and ambiguity created by the age-old complexities of its natural affinity to the ever evolving times.
In the overgrowing chaos and impediments within the academic sphere, the basics are being ignored, which has to be the core of performing arts.
'The Sensory Process of Acting' has been developed with an objective to ease out the clutter of a mind going through the complications of processes. It emphasises on going back to basics, where senses are the key factors to reactionary developments of an actor. An actor must understand that acting is a voluntary action and it is the sensibility of the mind which analyses and transforms the senses into sensitivity or reaction. The body is a beautifully organised tool.
Lettering fictions along with continuous pursuit to learn the ever evolving art of theatre, Niloy Roy has secured distinctive grades among critics as well as audiences in general, as an academician, poet, playwright, director and actor.
He is a multi disciplinary practitioner of art and literature and one of the few young directors to be acknowledged by the European Union for his understanding of society and portraying sensitivity through theatre. With more than 55 plays to his credit as a playwright and many more as an actor as well as director, his training in the art can be traced back to some of the finest teachers of drama.
His research work and plays based on metamodernism of theatre have been well acknowledged globally.
Niloy Roy's performance of nonlinguistic play Kala Jal has been termed as one of the most significant performances of modern times.
The theatre group, 'People's Theatre Group' that he founded has entered its 17th year in 2023, shelving out some of the most innovative theatrical experience to audiences across the country.
His collection of poems has been published as books namely, 'Sahamat', 'Pablo and the Empty Wooden Chairs' and 'Love in Burgundy Socks'.
Niloy Roy's research on theatre and actor's processes have culminated into his book 'The Sensory Process of Acting' in three volumes.
He had been Program Director - Academics at Shri Ram Centre for Performing Arts, India till mid of 2022.
Niloy currently holds the position of Director - Theatre and Development at Inter-Disciplinary Council of Dramatic and Artistic Director at Academy of Dramatic Arts, India.
There is nothing as getting into a character. 'Getting into the character' is where the purpose of acting becomes much more of an introspection, where an actor starts behaving as a paradoxical being, clamped by the external physicality of a human being and social appearances. Many directors and even actors do not realise that 'getting into the character; is not actually getting into the skin of a character and it is just an output mechanism, which cannot be achieved in coherence with required approach. The approach at times become too much of a process that is stuck in the questions to reach the demand of the directors from an actor for the character played:
1. Who am I?
2. Where am I?
3. What time is it?
4. What do I want?
5. Why do I want it?
6. How will I get what I want?
8. What will happen if I don't get it now?
9. How will I get what I want by doing what?
10. What must I overcome?
All these questions generally referred to Stanislaviski's questions posed for an actor to approach the character to be played.
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