Taijiquan is a traditional Chinese martial art that emphasizes slow, balanced, and focused movement patterns. It is a superb martial art, containing both offensive and defensive tactics as well as a philosophical and tactical base developed from Chinese cultural traditions that make it unique as a self-defense practice.


In its modern forms, however, Taijiquan is better known as a practice for self-development. Coming from a tradition that typically saw the mind and body as one, Taijuquan works at both physical and psychological levels.


Practicing Taiji helps the actor overcome tension, stress and poor motor habits. Its emphasis on whole body movement, visualization and intention develop a strong basis for performance practice. Taijiquan is useful for actors since it is complete in itself and requires no special equipment and little space. Indeed, for all these reasons Taijiquan can be an excellent personal practice for anyone.


In addition to the physical training, Taijiquan’s embodiment of traditional Chinese beliefs and ideas enriches its practice. We will be examining and discussing these ideas as we learn the taiji form.


Our primary objectives are

  1. 1)to develop balance, timing, relaxation, concentration, deep breathing and a stronger connection between mind and body by learning the Wu style of Taijiquan, and

  2. 2)to explore some of the principles and philosophy (e.g., the Taiji symbol, the Dao, the concept of “Qi,” “flow” and so forth) that Taijiquan is based on through discussions and readings as well as training.


This site provides additional material not possible in the required Course Pack, especially video clips illustrating each Posture.


Nothing can take the place of daily practice in Taijiquan; the learning is in the doing. These pages are a supplement to your class and daily practice of the Taiji form.



“Attention centers not on things in their state of being

but upon their movement in change.”

I Jing



“The stillness in stillness is not the real stillness;

only when there is stillness in movement

does the universal rhythm manifest itself”

Laozi

 

Dramatic Art 255/729

Spring, 2010

UNC-Chapel Hill

Professor Craig Turner