This article sets out to critique the methods used in the process of directing Gwendolyn McEwen’s version of Euripedes’ classic, The Trojan Women, with second year students of theatre and performance at the University of Cape Town (UCT). In so doing I intend to offer an embodied approach to character and textual analysis. Central to this approach is the engagement with methods of mapping that involve what I have identified as somatic mapping. This approach, I argue, allows for a cyclical relationship between breath, emotions, body, and mind. I draw principally from Body Mapping and the Sanskrit theory of Rasa (in particular the connection between rasa and breath).

中文翻译：

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映射经典：身体映射和 Koodiyattam Rasa 呼吸模式作为体现角色和分析文本的一种方式，与开普敦大学戏剧系二年级表演学生一起制作的特洛伊女人。

本文旨在批评在开普敦大学 (UCT) 戏剧和表演专业二年级学生指导格温多琳·麦克尤恩 (Gwendolyn McEwen) 版本的欧里庇得斯 (Euripedes) 经典作品《特洛伊女人》(The Trojan Women) 过程中使用的方法。在这样做时，我打算提供一种具体的方法来进行字符和文本分析。这种方法的核心是使用涉及我所确定的体细胞映射的映射方法。我认为，这种方法允许呼吸、情绪、身体和思想之间存在周期性关系。我主要借鉴了身体映射和梵文的 Rasa 理论（特别是 rasa 和呼吸之间的联系）。