Tempting the miracle : sacred theatre, or exploring Suzuki/Viewpoints and composition in directing John Pielmeier's Agnes of God : an auto/ethnographic memoir

and indescribable nature that she both fears and desires. This is necessary to negotiate the multidirectionality of Suzuki training: the actress’s lower half quite literally Stomps into the earth to harness its primal forces while her upper body metaphorically reaches up to maintain contact with the gods. Although many of the Suzuki forms tempt this intensity of focus while the actress is moving in a forward trajectory, the training is not concerned with traveling a great distance so much as it is with the depth of that journey. Thus, a clear focus on an image she fears and desires will provide the actress her necessary Resistance: a specificity and integrity of movement that will allow her to proceed onward and downward without getting off to the races. 128 Carruthers and Yasunari, Theatre of Suzuki Tadashi, 80; Allain, Art of Stillness, 19.