Since 1983 Adishakti had been looking to develop a new language of physical expression and vocal expression. In 1987, however, we realized the need for a language or methodology for psychological expression , which matched the energy of the body's language for expression. Western methods of acting use Stanislavski's process of emotional recall for psychological expression. But this method works only  

In June 2001 Adishakti Laboratory for Theatre Art Research , Pondicherry, commissioned mizhavu maker Mr. Subramanium of Irinjalakuda, to construct a five- faced mizhavu. This was done after the entire Adishakti team visited the Thyagaraja Temple at Thiruvaroor, Tamil Nadu, along with Mr. Subramanium, to investigate and research the panch mukha vadiyam, an instrument, which some sources say has genealogical connections with the Koodiyattam mizhavu This thousand year old instrument,

Adishakti's research into ‘vernacular' construction technology and the marriage of its findings with urban techniques has led to a hybrid construction technology, which was then used at the Adishakti campus. Below are given some of the processes, which were employed at Adishakti.

Adishakti's work over the years has been to confront and address certain issues related to the practice of art and particularly the practice of theatre art in the context of the following preoccupations: 1. The validity of theatre in the times of cinema. 2. The cultural atmosphere in this region of South Asia in the context of post-colonialism. The growing atmosphere of a homogeneous consciousness or sameness world- wide.