Investigation of the Executive Method of Biofeedback and Neurofeedback in Behrouz Gharibpour's Directing

Abstract

This research examines the innovative method of Behrouz Gharibpour in puppet performance, based on the "biofeedback" and "neurofeedback" systems, which has its roots in Stanislavski's naturalistic acting. Unlike traditional acting, where the actor directly engages with the role, in puppet opera, the performer establishes a connection with the role through a marionette. This method is designed so that the performer imparts a human identity to the puppet by transferring their inner emotions into its movements. Biofeedback and neurofeedback, which are tools for controlling physiological reactions and optimizing brain performance, play a key role in this system. Biofeedback provides vital feedback from the body and allows for greater control over bodily functions, while neurofeedback helps improve cognitive and physiological performance by training the subconscious mind. In addition to their impact on the performing arts, these methods have applications in medicine and can increase individuals' pain tolerance thresholds. The results of this research, conducted qualitatively using a descriptive-analytical method, indicate that Behrouz Gharibpour, a pioneer of puppet opera in Iran, has elevated the coordination between the performer, the puppet, and the audience to a deeper level by utilizing biofeedback and neurofeedback techniques. By emphasizing the internal connection between the performer and the puppet, he creates a natural and believable performance in which movements, emotions, and music are conveyed in a coordinated manner. In his works, the performer must perceive the puppet's movements as part of their own body and, through mental focus and bodily awareness, convey the character's emotions to the audience. This method, in addition to increasing the impact of the performance, helps create vivid and meaningful puppets that immerse the audience in the depth of the story.