This definition essay takes up a longer article published in J. Féral (dir.), Performative Practices, Body-Remix, Presses de l’Université de Rennes, 2011, 352 p. See F. Féral and E. Perrot, From the presence to presence effects. Gaps and issues, pp. 11-40.

Nona Ciobanu Yes, presence has a connection with this awareness of the “center” that I am looking for. Presence on stage results from the link that the actor maintains with all the phenomena that surround him. If he is “disconnected” in any way and forgets the essence of things – here I mean the basic elements such as air, water, fire and earth – then he will not be able to create a character who is truly human. The stage presence radiates in all directions and does not only emanate from situations or conflicts likely to reveal the character. The actor must sometimes step out of the context of his scene to be fully aware of what is happening around him.

Josette Féral How does this translate on stage? Although it is something very intimate, specific to each actor, how is it that we can feel this presence on stage, how can we explain that the actor “radiates”, to use your words?

NC The presence is felt by a kind of tension difficult to describe. I would explain it by a very simple exercise that I have sometimes suggested to the actors: they must walk a distance of only two meters, but imagining that they are crossing not two meters, but an entire universe. They then radiate in a completely different way, because they are “connected” to something richer.

JF So it’s spiritual.

NC Yes.

JF Do you see a link between this presence and the notion of energy?

NC The tension inherent in presence is strongly linked to energy, to the consciousness of the “center” and to a certain preparation of the actor. Energy is certainly not psychological. It is an awareness of the body, the physical body, the spiritual body and the body as memory, listening to one's own thoughts... How could one evoke a landscape, a map of the world on stage? To do this, the actor must work on energy and listen to his senses. This energy work differs from person to person, but I believe the basics are similar for everyone, to some extent. This is a quality of preparation.

JF Can energy and presence be taught, transmitted to the actor?

NC When you do theater, you work with energy, but I don’t know to what extent that can be taught. I believe that we can develop it, find some benchmarks and, from that, discover our own path. So I don't believe it can be taught, but I think it is important to be adequately guided. This guide can be a book or an important meeting.

Furthermore, I believe that we can transmit the ability to be present, by taking the time to work in this direction with a group of actors and by having precise expectations. You should only keep benchmarks that are essential. Doing theater means creating the time necessary to be present. If we can create this time, with the energy and tension it implies, we can then create a space. The invisible tension cannot be described but, paradoxically, it is the greatest quality of an actor. If he does not train to create this tension, he will not be able to be awake on

scene.

I have often seen wonderful shows, but these were only brilliant demonstrations where the essential was missing: the presence of the actor. In this presence lies the miracle of theater and its essence. If there isn’t that, then there isn’t really any theater.