Considering Circles & Squares

by John Turner

As we know, the human body (as with most animals
and plants) is multi–cellular – made up of millions and millions

of separate units called cells. These are circular complex designs with three main parts: a cell membrane (the gatekeeper that determines the incoming and outgoing traffic of substances), cytoplasm (containing the factory and processing capability of the cells) and a nucleus (the genetically coded template that dictates the government of the cells processes, which is responsive to head office – the person). As our body is constructed of these microscopic units, they fundamentally determine how our body works and how it reacts. The majority of these cells are rounded or circular by design and their shape influences how we respond to our immediate environment. In the history of theatre, the nature of performance changed radically as performance spaces altered from rounded arenas to square buildings. The conductivity between performer and audience in theatre–in–the–round is far greater than in the more rigid square theatres that gave rise to the proscenium arch that established a distinct separation between spectator and performer. This is not simply a physical spatial and form difference but relates to how shape and dimension influences our faculties and our ability to think, feel and act. Circles are conductive by nature because they create a circuit. We circulate or orbit at social gatherings, we are circumspect when uncertain of the circumstance we find ourselves in. We circumvent difficulties and circumscribe boundaries when we want to restrict or limit activities. Our blood circulates in our body, and when we circulate we do its dance and become influenced by its nature and ways. Magnetic in nature rather than electric, the dance of the circle is to attract or repel, to draw in or to evacuate. Tribal dances around the totem pole or fire are just this – they are evoking or dispelling influence on behalf of the tribe. Because of the cellular structure and influence of the blood system in our body, we are more comfortable and naturalised to rounded movements when negotiating, considering, courting, musing, inviting, working out something from our system. Sitting around a circular table will allow a more open and tolerant discussion about something than using a square or rectangular table. Approaching other people for the first time with a slight arc in the line of approach will soften the greeting and be more invitational than a direct line of approach. Sitting in circular rooms (as in yurts, tepees or mud huts) promotes greater conductivity and union between people than in square rooms. This is not to say that square rooms or shapes are unfortunate. If only we had more choice in how we determine and apply ourselves to our environment rather than being governed by economic necessity (square houses are more economically viable than round, etc), then we would use differences dimensions, shapes and designs according to the needs at hand. The square, by its very nature, has corners, and these are circuit-breakers in that they can prevent the flow of chi (energy). The square shape promotes debate, argument and contest. A square provide an environment that allows people to see all sides of the case and to pat things into shape. As such, they can promote the antithesis to anything raised within them as they encourage separation. So we have the two parties (or three) opposing each other in the House of Commons in Britain, the boxing ring (why is it called ring?), the spectators and performers at the theatre, and the two camps of football fans at the stadium. Interestingly the great round arenas which house American football do not seem to encourage the same divide between fans as occurs in soccer. Now, although this is simplistically presented, it has large implications into our personal theatre, our non-verbal communication and how we design our environment. By simply gaining a greater awareness of how shapes, movements and designs influence us, we can make deliberate adjustments in how we configure our environments, our gestures or movements with potentially considerable effect. Consider these suggestions: Insistence is a straight line, while negotiation is an east–west arc. Courting is a series of circles, while challenge is a direct, front–on movement. Learning by direct teaching or lecture is square, participative learning is round. Thinking with our brain travels down the motorways, whilst our mind wants to drive on the minor roads. Compassion glides in an upward arc with the arms and hand, while intolerance is a stamping of the foot Try and add some examples of your own; don’t be worried about being wrong. It may take time to begin, but let your mind fly. Something in the human faculty loves this kind of exercise if we let it. How often do we give ourselves the freedom to consider life multi–dimensionally? It is being considered today that many, if not all, of us were synesthetic (with blended senses) when infants, with one percent of adults living with this condition. Has the environment we have created forced us to separate out our senses, or is it a natural development in the process of growing up? Whatever the case, to think creatively is to allow the mind to travel the less–travelled paths. Two roads diverged in a wood, and I... I took the one less travelled by, And that has made all the difference. ROBERT FROST This article is extracted from the book ‘The Human Performer’ by John Turner. © 2006. All rights reserved. About the author John Turner is a lecturer, international speaker and author on the roots and development of world theatre and its application into the personal development of modern performers, artists and people in all walks of life. John has been providing lectures, training programmes and workshops in theatre, presentation skills, body language and other related areas over the last 25 years throughout Europe and North America. His programmes are fascinating explorations into human art, personal expression and the ways of realising and releasing our vast and often untapped inner potential. Contact: jt.perceptions@zen.co.uk close window