1.“It has been argued that any account of contemporary forms of body-based theatre is at the same time a history of devised work generated through various models of collaborative theatre” (Murray & Keefe; 2007, pg17) ‘Physical theatre’ is an amalgamation of a vast range of performance types. The performance practice partly originates from ballet, and has been influenced heavily by modern dance, popular in the early 1920’s, as the genre has grown. It is continuously adapting and progressing from simple pedestrian gestures into surrealism and almost grotesque theatre. The physicality of ones body is superior to ones verbal abilities. The message the performance is portraying to the audience is mostly conveyed through gestures and stylised movements, Sanchez- Colberg elaborates on this further. Physical theatre is “[…] commonly understood to be one which focuses on the unfolding of a narrative through physicalized events and which relegates verbal narrative- if at all present- to a subordinate position” (Sanchez- Colberg in keefe & Murray; 2007, Pg.21) This performance practice does not work from a set script, such a conventional theatres, but works from impulses within the body, allowing the performer to be as expressive and creative as possible. Within this type of theatre there is no right or wrong to ones devised piece.
2.“The term itself – ‘physical theatre’ – denotes a hybrid character[…]” (Sanchez- Colberg in Keefe & Murray; 2007, pg.21) To express on this further, the term used by Sanchez-Colberg ‘hybrid character’ suggests that Physical theatre is a collaboration of performance types, most obvious being ‘conventional theatre’ and ‘art theatre’. Physical theatre incorporates the movement element of ‘dance’. A ‘dance’ piece relies on music to give rhythm and guidance, where as physical theatre uses music as merely a layer to the structure, the performers movements do not tend to work in conjunction with the rhythm of the music unlike ‘dance’, but they do use choreographed movements like the dance genre. It also uses gesture and can be intentionally expressionistic, it takes these elements from ‘drama’, although it does not usually work from a script and become a play unlike ‘drama’. Combining these two genres leaves physical theatre in a ‘grey area’, which makes it unquestionably a ‘hybrid’ performance genre.
3. DV8 is a British physical theatre company formed in 1986.
DV8 Physical Theatre's work is about taking risks, aesthetically and physically, about breaking down the barriers between dance, theatre and personal politics and, above all, communicating ideas and feelings clearly and unpretentiously
DV8 combine modern and classical dance to give their pieces a more contemporary outlook. They use gestures, taken from ‘traditional theatre’. They ‘break the boundaries’ of every day society through their physicality rather than spoken dialogue, allowing their bodies to create the language rather than creating it verbally. They use stylised chorography taken from ‘art theatre’ to give originality to their piece, which are mostly abstract allowing them to covey the meaning of the piece subtly rather than directly addressing it, as most of their pieces brake many social boundaries that people refuse to confront. DV8 is certainly a physical theatre company as it is an amalgamation of both ‘dance’ and ‘drama’.
Bibliography
Keefe, J & S Murray (2007) Physical Theatres: A Critical Reader London: Routledge
Keffe, J & S Murray (2007) Physical Theatres: A Critical Introduction Canada: Routledge
Anderson, J. (1997) The World Of Modern Dance: Art Without Boundaries London: University of Lowa Press
Website Source
Retrieved February 24, 2009, from http://www.dv8.co.uk/about.dv8/artistic.policy.html
Wednesday 25 February 2009
Nicola Wilson, Assessment Blog 1
1. As the quote states, physical theatre is a new genre and its key features derive from many antecedent aspects of expression. One feature in particular that has been explored in our module would be how the genre is visceral in its nature. The process of making work in this genre is very organic, working on impulses to create what Ana Sanchez-Colberg coins, a ‘non-verbal idiom’. Rather than talking through the process or reading out lines from a page, Dymphna Callery states that ‘the somatic impulse is privileged over the cerebral in the making process.’ (2001, pg 4) This instinctual way of moving created work through a method we called, ‘play’ and we were taught a palette of techniques to ‘play’ with. Eugenio Barba described such techniques as ‘in reality, are stereotyped gymnastic movements’ and it was up to the performer to add the emotional layers on top to give actual meaning to them, creating the ‘theatre’ aspect that the genre demands. Whether the work was developing as a collaborative ensemble, or purely on an individual bases, it was the emotional connection with the movements that acted as a key feature in creating this new genre.
2. It would be accurate to suggest this ‘hybrid’ characteristic of the genre because physical theatre is a vast amalgamation of various performance elements such as visceral theatre, mime, dance, and avant-garde theatre. It is concomitant with mime for example through Jacques Lecoq, as he was stated as being a ‘central figure in a loose movement of practitioners, teachers and theorists who proposed that it is the actor’s body – rather than simply the spoken text which is the crucial generator of meaning in theatre.’ (2007, pg 54) This particular element of mime, turning the focus towards the body for meaning and away from spoken language has acted like a tributary to physical theatre, not influencing it in its entirety but just contributing a small part. The other aforementioned performing elements all act as tributaries as well, avant garde with its nature of transforming and discarding the body, dance with its ability to evoke emotion only through the use of movement.
3. In ‘Altered States and Subliminal Spaces’ physical theatre was described as focussing ‘on the unfolding of a narrative through physicalized events’ which is exactly what the Jasmin Vardimon Company do. Their show Yesterday had real characters, as opposed to neutral bodies that are predominantly found in the dance genre, telling a story through physical movement. However, this company do differ from some points stated previously as they are known to use verbal language, but as Alistair Spalding, Artistic Director of Sadler's Wells comments on their website ‘Jasmin’s vocabulary allows her to go down this path as her dancers speak, act, sing. But when it is not possible to go any further with any other kind of language Jasmin’s dance takes over to express the inexpressible, to utter the unutterable, to communicate in a direct way with the movement of the human body.’ Making them a perfect example of a contemporary physical theatre company, as the body is still the over-riding force that creates the meaning.
Bibliography
Barba, E., 1972. Words or Presence, s.l., s.n.
Callery, D., 2001. Through The Body: A Practical Guide To Physical Theatre, London: Nick Hern Books Limited
Keefe, J & Murray, S., 2007. Physical Theatres: A Critical Introduction, Oxon: Routledge
Sánchez-Colberg, A., 1996. Altered States And Subliminal Places: Charting The Road Towards A Physical Theatre, s.l., s.n.
Spalding, A., Testimonials For Jasmin Vardimon Company (Internet) Available at: http://www.jasminvardimon.com/testimonials.html
2. It would be accurate to suggest this ‘hybrid’ characteristic of the genre because physical theatre is a vast amalgamation of various performance elements such as visceral theatre, mime, dance, and avant-garde theatre. It is concomitant with mime for example through Jacques Lecoq, as he was stated as being a ‘central figure in a loose movement of practitioners, teachers and theorists who proposed that it is the actor’s body – rather than simply the spoken text which is the crucial generator of meaning in theatre.’ (2007, pg 54) This particular element of mime, turning the focus towards the body for meaning and away from spoken language has acted like a tributary to physical theatre, not influencing it in its entirety but just contributing a small part. The other aforementioned performing elements all act as tributaries as well, avant garde with its nature of transforming and discarding the body, dance with its ability to evoke emotion only through the use of movement.
3. In ‘Altered States and Subliminal Spaces’ physical theatre was described as focussing ‘on the unfolding of a narrative through physicalized events’ which is exactly what the Jasmin Vardimon Company do. Their show Yesterday had real characters, as opposed to neutral bodies that are predominantly found in the dance genre, telling a story through physical movement. However, this company do differ from some points stated previously as they are known to use verbal language, but as Alistair Spalding, Artistic Director of Sadler's Wells comments on their website ‘Jasmin’s vocabulary allows her to go down this path as her dancers speak, act, sing. But when it is not possible to go any further with any other kind of language Jasmin’s dance takes over to express the inexpressible, to utter the unutterable, to communicate in a direct way with the movement of the human body.’ Making them a perfect example of a contemporary physical theatre company, as the body is still the over-riding force that creates the meaning.
Bibliography
Barba, E., 1972. Words or Presence, s.l., s.n.
Callery, D., 2001. Through The Body: A Practical Guide To Physical Theatre, London: Nick Hern Books Limited
Keefe, J & Murray, S., 2007. Physical Theatres: A Critical Introduction, Oxon: Routledge
Sánchez-Colberg, A., 1996. Altered States And Subliminal Places: Charting The Road Towards A Physical Theatre, s.l., s.n.
Spalding, A., Testimonials For Jasmin Vardimon Company (Internet) Available at: http://www.jasminvardimon.com/testimonials.html
Ellen Marshall Blog Task 1
1)
As quoted above physical theatre is a creation of the body and the ways in which movements encode story and themes. The main argument of physical theatre is, is it a form of dance or acting? The lifts, throws and passion in certain dance genres are similar to what you see in physical theatre. Dance cannot overly express a character in depth and their journey and transitions as the nature of the style adds limitations. Acting would fit more suitably when it comes to the sense of having perpous behind the movements.
Physical theatre does not have a set rule of how to move and is most definitely not a handful of movements put together with no meaning or feeling. The only conventional thing about physical theatre is that it is an expansion of pedestrian movements. Take DV8 Physical Theatre - Enter Achilles for example, they take the sinerio of every day pedestrian movements of drinking at a bar and exaggerate them in to elaborate movements, which are somewhat poetic to the eye. There are no limitations to what the body can express with out the spoken word.
2)
‘Physical Theatre is not codifiable. The term is applied to such a diverse range of work that it has become virtually undefinable.’ (Callery, 2001, p.5)
Physical theatre is always a subject for debate, this genre of performance can be seen in a varied selection of the performing arts therefore it is hard to specify to which genre it belongs. As commented on above, it would be hard to pigeonhole such a creative means of performance. Ana Sanchez-Colberg comment on it being a ‘hybrid character’ just furthers my belief that it is in fact so diverse you cannot categorise it as it stems and has influences from many things.
‘…the term ‘physical theatre’ first came to public attention through the emergance of DV8…’ (Murray and Keefe, 2007, p.14)
DV8 before this were known as a dance group but watching their performances you can see that the theatre arts have heavily influenced the performances.
3)
Going on all the stereotypes of what makes physical theatre it became apparent that although there is a very vast definitions there is also a fine line between it falling in to a different category. Take Akram Khan’s company every where you look will define them as a Dance group, but who actually gets to decide what genre it is? He uses a mixture of Kathak dance, which is very narrative orientated, and watching his work it’s hard not to see a story. Granted this type of performance does involve the spoke word and there are many companies which would be easier to set in stone as being Physical Theatre. Akram Khans performances just sum up this question of if it’s a ‘hybrid character’ there are no right or wrong answers on these fine lines the beauty of such a genre is that it is what you make of it.
Bibliography
Murray, S and Keefe, J. (2007) Physical Theatres: A Critical Introduction. Oxon: Routledge.
Callery, D. (2001) Through The Body A Practical Guide To Physical Theatre.
London: Nick Hern Books.
Other Sources
Physical Theatre http://www.blackfishacademy.com/physical.htm (Accessed: 25.02.09)
As quoted above physical theatre is a creation of the body and the ways in which movements encode story and themes. The main argument of physical theatre is, is it a form of dance or acting? The lifts, throws and passion in certain dance genres are similar to what you see in physical theatre. Dance cannot overly express a character in depth and their journey and transitions as the nature of the style adds limitations. Acting would fit more suitably when it comes to the sense of having perpous behind the movements.
Physical theatre does not have a set rule of how to move and is most definitely not a handful of movements put together with no meaning or feeling. The only conventional thing about physical theatre is that it is an expansion of pedestrian movements. Take DV8 Physical Theatre - Enter Achilles for example, they take the sinerio of every day pedestrian movements of drinking at a bar and exaggerate them in to elaborate movements, which are somewhat poetic to the eye. There are no limitations to what the body can express with out the spoken word.
2)
‘Physical Theatre is not codifiable. The term is applied to such a diverse range of work that it has become virtually undefinable.’ (Callery, 2001, p.5)
Physical theatre is always a subject for debate, this genre of performance can be seen in a varied selection of the performing arts therefore it is hard to specify to which genre it belongs. As commented on above, it would be hard to pigeonhole such a creative means of performance. Ana Sanchez-Colberg comment on it being a ‘hybrid character’ just furthers my belief that it is in fact so diverse you cannot categorise it as it stems and has influences from many things.
‘…the term ‘physical theatre’ first came to public attention through the emergance of DV8…’ (Murray and Keefe, 2007, p.14)
DV8 before this were known as a dance group but watching their performances you can see that the theatre arts have heavily influenced the performances.
3)
Going on all the stereotypes of what makes physical theatre it became apparent that although there is a very vast definitions there is also a fine line between it falling in to a different category. Take Akram Khan’s company every where you look will define them as a Dance group, but who actually gets to decide what genre it is? He uses a mixture of Kathak dance, which is very narrative orientated, and watching his work it’s hard not to see a story. Granted this type of performance does involve the spoke word and there are many companies which would be easier to set in stone as being Physical Theatre. Akram Khans performances just sum up this question of if it’s a ‘hybrid character’ there are no right or wrong answers on these fine lines the beauty of such a genre is that it is what you make of it.
Bibliography
Murray, S and Keefe, J. (2007) Physical Theatres: A Critical Introduction. Oxon: Routledge.
Callery, D. (2001) Through The Body A Practical Guide To Physical Theatre.
London: Nick Hern Books.
Other Sources
Physical Theatre http://www.blackfishacademy.com/physical.htm (Accessed: 25.02.09)
Gavin Thatcher - Blog Task 1
1. Discuss the key features of the genre of ‘physical theatre’ as explored in the module content of Process and Performance. (200 words)
The key features of ‘physical theatre’ as explore in the Process and Performance are:-
Throughout the process and training within the module, we explored an array of features that combine to inform the genre. Unlike text based theatre, physical theatre is developed through improvisation and ‘play’. The performers are encouraged to respond to impulses rather than predetermined direction. The improvisation couldn’t take place however without the palette of techniques that the performers develop throughout the process. It is through body memory that the physical theatre technique is learnt, thus when engaging in play the body remembers reference points to work from and develop a performance vocabulary. DV8 artistic director, Newson uses “weight exchange, lifts, and holds” (1999, Pg. 228). It should be noted however, that contact improvisation in physical theatre differs somewhat to that of dance, “contact improvisation...is usually performed with a faster, more violent dynamic, and is mixed with pedestrian movements and body language.” (1999, Pg. 228) Pedestrian movement is also a key feature to the physical theatre genre. Pedestrian or everyday movements that are used by the performer are encouraged to be explored through repetition and interaction and then may further develop into a more abstract dynamic.
2. What does Ana Sanchez-Colberg imply by the ‘hybrid character’ of physical theatre? Is physical theatre a hybrid performance genre? Discuss with reasons for your answer. (150 words)
“There are strong links between Ausdruckstanz and Tanztheater with respect to their shared attitude towards the understanding of the body/space relationship.” (2007, Pg. 24).
Sanchez-Colberg implies that physical theatre is a hybrid genre of dance and theatre. This is due largely to the features that the genre shares with its suggested predecessors of Tanztheater and conventional theatre.
“There must be a poetry for the senses...but this physical, tangible language I am referring to is really only theatrical in as far as the thoughts it expresses escape spoken language” (1993, Pg. 27)
Artaud’s suggestion at a theatre having a “concrete language”(1993, pg. 27) abandons the western text-based theatre and seeks for a physical entity that stimulates the audience. It could be argued that physical theatre takes measures to achieve this by the images created being able to be interpreted by the audience. It almost forces stimulation and engagement.
3. Identify a contemporary British performance company whose practice falls into the remit of ‘physical theatre’ as you have defined in the above two answers. Discuss briefly the key features of their practice that makes them a physical theatre company. (150 words)
“Renowned for her uniquely theatrical choreographic and directorial style combining physical theatre, quirky characterisation, innovative technologies, text and dance”
The Jasmin Vardimon Company explore multi-discipline performance elements within their work. However, the use a multitude of features that would categorise them in the physical theatre genre.
Most of their work comes out of impulse. It is then the treatment of that impulse that gives the company their unique performance style. The development and refining aspects of the devising process are rigorous. Choreography is chosen and then qualities are added to it. It is this play with qualities and choreography that allow discoveries and interesting stage moments to be made.
As well as ‘play’ and development, the company also have the tools and techniques required to engage with the work. Their performers are trained in a multitude of different movement styles which are amalgamated to create an new aesthetic.
Artaud, A (1993) The Theatre And Its Double London: Calder Publications Limited
Bremser, M (1999) Fifty contemporary Choreographers London : Routledge
Jasmon Vardimon Company [About Us Page] [Online] [February 25th 2009]
Keefe, J & S Murray (2007) Physical Theatres: A Critical Reader London: Routledge
The key features of ‘physical theatre’ as explore in the Process and Performance are:-
Throughout the process and training within the module, we explored an array of features that combine to inform the genre. Unlike text based theatre, physical theatre is developed through improvisation and ‘play’. The performers are encouraged to respond to impulses rather than predetermined direction. The improvisation couldn’t take place however without the palette of techniques that the performers develop throughout the process. It is through body memory that the physical theatre technique is learnt, thus when engaging in play the body remembers reference points to work from and develop a performance vocabulary. DV8 artistic director, Newson uses “weight exchange, lifts, and holds” (1999, Pg. 228). It should be noted however, that contact improvisation in physical theatre differs somewhat to that of dance, “contact improvisation...is usually performed with a faster, more violent dynamic, and is mixed with pedestrian movements and body language.” (1999, Pg. 228) Pedestrian movement is also a key feature to the physical theatre genre. Pedestrian or everyday movements that are used by the performer are encouraged to be explored through repetition and interaction and then may further develop into a more abstract dynamic.
2. What does Ana Sanchez-Colberg imply by the ‘hybrid character’ of physical theatre? Is physical theatre a hybrid performance genre? Discuss with reasons for your answer. (150 words)
“There are strong links between Ausdruckstanz and Tanztheater with respect to their shared attitude towards the understanding of the body/space relationship.” (2007, Pg. 24).
Sanchez-Colberg implies that physical theatre is a hybrid genre of dance and theatre. This is due largely to the features that the genre shares with its suggested predecessors of Tanztheater and conventional theatre.
“There must be a poetry for the senses...but this physical, tangible language I am referring to is really only theatrical in as far as the thoughts it expresses escape spoken language” (1993, Pg. 27)
Artaud’s suggestion at a theatre having a “concrete language”(1993, pg. 27) abandons the western text-based theatre and seeks for a physical entity that stimulates the audience. It could be argued that physical theatre takes measures to achieve this by the images created being able to be interpreted by the audience. It almost forces stimulation and engagement.
3. Identify a contemporary British performance company whose practice falls into the remit of ‘physical theatre’ as you have defined in the above two answers. Discuss briefly the key features of their practice that makes them a physical theatre company. (150 words)
“Renowned for her uniquely theatrical choreographic and directorial style combining physical theatre, quirky characterisation, innovative technologies, text and dance”
The Jasmin Vardimon Company explore multi-discipline performance elements within their work. However, the use a multitude of features that would categorise them in the physical theatre genre.
Most of their work comes out of impulse. It is then the treatment of that impulse that gives the company their unique performance style. The development and refining aspects of the devising process are rigorous. Choreography is chosen and then qualities are added to it. It is this play with qualities and choreography that allow discoveries and interesting stage moments to be made.
As well as ‘play’ and development, the company also have the tools and techniques required to engage with the work. Their performers are trained in a multitude of different movement styles which are amalgamated to create an new aesthetic.
Artaud, A (1993) The Theatre And Its Double London: Calder Publications Limited
Bremser, M (1999) Fifty contemporary Choreographers London : Routledge
Jasmon Vardimon Company [About Us Page] [Online] [February 25th 2009]
Keefe, J & S Murray (2007) Physical Theatres: A Critical Reader London: Routledge
Anna Efthymiou Blog assesment 1
1: My initial thoughts were that physical theatre was apparent to dance theatre and that the majority of this was extremely choreographed to look aesthetically pleasing. However, this rapidly changed, and thoughts on physical theatre have expanded and adapted immensely, throughout the devising process as I became aware that ensemble work occasionally moves on impulse and pedestrian movements can also be classed as ‘physical theatre’. We have learnt to depend on the use of body memory. Each week we rely on our body memory to rediscover our centre and to recall movements and notions from previous weeks. I have learnt that physical theatre can act on impulse, you can move when you feel the moment is right, this is another clear difference between the physical theatre and the timing needed in dance theatre.
The use of pedestrian movements is something that is not used in dance theatre so is another difference between the two genres. It enables the audience to read the character and their emotions, and gives the audience a chance to question why the performers are moving rather than the performers making constant elaborate movements.
2: “The term itself – ‘physical theatre’ – denotes a hybrid character and is testimony to its double legacy in both avant-garde theatre and dance…” (Sanchez-Colberg in Keefe & Murray; 2007, p 21)
I agree with Ana Sanchez-Colberg opinion in which she implies that the ‘hybrid character’ in physical theatre is combination of different genres. It has a double current of influences one being dance and the other, theatre. When placed together a new genre is created, ‘Physical Theatre’. Although, like dance, there may not be a solid script to follow, but there will always be a meaning for the piece, whether it is personal or political. The argument between whether people who are involved in physical theatre are dancers or actors is still to this day in disagreement this may be because physical theatre does not yet have a clear definition.
3: “Jasmin Vardimon Company was founded in London in 1997 and rapidly rose to become a significant element within the British dance theatre scene.” http://www.jasminvardimon.com/about.html)
Through my own experience of working with the company on a workshop made for the university based on their performance ‘Yesterday’. I learnt one of the company’s ways of devising. Jasmin Vardimon has a lot of key techniques that pull her away from the conventional choreographed dance; we learnt that there should always be a motivation behind every movement, a feature that is lacked in a lot of traditional dance theatre.
Traditional dance theatre consists of aesthetically pleasing movements even when the performance does not require them. Physical theatre companies such as Jasmin Vardimon’s believe that ever movement should have a meaning, whether it is visually pleasing or unpleasant to watch. Their aim is for the audience to be able to follow the emotions of a journey through something deeper and more personal than just aesthetic movements.
Bibliography
Sanchez-Colberg in Keefe & Murray; 2007,
http://www.jasminvardimon.com/about.html)
The use of pedestrian movements is something that is not used in dance theatre so is another difference between the two genres. It enables the audience to read the character and their emotions, and gives the audience a chance to question why the performers are moving rather than the performers making constant elaborate movements.
2: “The term itself – ‘physical theatre’ – denotes a hybrid character and is testimony to its double legacy in both avant-garde theatre and dance…” (Sanchez-Colberg in Keefe & Murray; 2007, p 21)
I agree with Ana Sanchez-Colberg opinion in which she implies that the ‘hybrid character’ in physical theatre is combination of different genres. It has a double current of influences one being dance and the other, theatre. When placed together a new genre is created, ‘Physical Theatre’. Although, like dance, there may not be a solid script to follow, but there will always be a meaning for the piece, whether it is personal or political. The argument between whether people who are involved in physical theatre are dancers or actors is still to this day in disagreement this may be because physical theatre does not yet have a clear definition.
3: “Jasmin Vardimon Company was founded in London in 1997 and rapidly rose to become a significant element within the British dance theatre scene.” http://www.jasminvardimon.com/about.html)
Through my own experience of working with the company on a workshop made for the university based on their performance ‘Yesterday’. I learnt one of the company’s ways of devising. Jasmin Vardimon has a lot of key techniques that pull her away from the conventional choreographed dance; we learnt that there should always be a motivation behind every movement, a feature that is lacked in a lot of traditional dance theatre.
Traditional dance theatre consists of aesthetically pleasing movements even when the performance does not require them. Physical theatre companies such as Jasmin Vardimon’s believe that ever movement should have a meaning, whether it is visually pleasing or unpleasant to watch. Their aim is for the audience to be able to follow the emotions of a journey through something deeper and more personal than just aesthetic movements.
Bibliography
Sanchez-Colberg in Keefe & Murray; 2007,
http://www.jasminvardimon.com/about.html)
Leigh-Anne Gilbert - Assessment Blog 1
1. There is much controversy over the term ‘physical theatre’, and it is often described as a hybrid of theatre genres. Although the term suggests it is wholly somatic in practice, it has never been quite that easy to categorise, and has given rise to debates over whether it should be classed as dancing or acting.
It is a form of theatre that expresses narrative primarily through the use of the body, rather than relying on spoken word to convey a storyline. This is also true of the devising process where “the primary means of creation occurs through the body rather than through the mind.” (Callery, D., 2001, p4) Performers improvise using their bodies to express emotion and move upon impulse, which is what we are currently exploring in the making of Porto. Unlike conventional plays, physical theatre companies create their own work, rather than interpret the work of others. Instead it is up to the audience to interpret what they see in their own way.
In the Process and Performance module, we have learnt a variety of physical theatre techniques, and have explored the idea of ‘body memory’. This concept has become more apparent now the devising stage has begun, in that it is the body that remembers how to move not the mind.
2. When Ana Sanchez-Colberg describes physical theatre as having a ‘hybrid character’, she is implying that it combines the features of more than one genre, which is very much apparent when watching and analysing a performance. Although the term ‘physical theatre’ is still not recognised by all, it has been going for a long time, and there is evidence of inspiration from avant-garde, commedia dell’arte, mime, dance, different cultural traditions, even Japanese Noh theatre.
Physical theatre is not a straightforward practice. Some spectators fail to see the meaning of it and it is often described as experimental, pushing the boundaries of the human body and theatre traditions alike. It has evolved over the years, and although it employs techniques ‘borrowed’ from other genres such as dance, mime and stage combat, it is the way that these skills are collectively presented that has allowed its development into a whole new genre in its own right.
3. The work of the Jasmin Vardimon Company is a prime example of contemporary British physical theatre. The company use a blend of pedestrian and abstract movement to address social, cultural and political issues, and sometimes just simply to provide a profound insight into natural human behaviour.
From seeing the companies production of Yesterday, and viewing clips of other shows, it is easy to see that they apply a range of skills and techniques in their work. They use an eclectic mix of large physical action along with moments of stillness, various dance styles, gymnastics, and stage fighting, and combine it with spoken text, live video technology and other effects to create an exciting piece of physical theatre:
"With sharp instincts and provocative daring, she (Vardimon) has developed an individual choreographic voice, distinguished by her beautifully detailed movement, insightful humour and engaging drama." (http://www.jasminvardimon.com/about.html)
Bibliography:
Callery, D., (2001) Through the Body: A Practical Guide to Physical Theatre. London: Nick Hern Books Ltd
Jasmin Vardimon Company (date unknown) About Us: Jasmin Vardimon Company [online]. [cited 24th February 2009].
Available from: http://www.jasminvardimon.com/about.html
Leigh-Anne Gilbert
It is a form of theatre that expresses narrative primarily through the use of the body, rather than relying on spoken word to convey a storyline. This is also true of the devising process where “the primary means of creation occurs through the body rather than through the mind.” (Callery, D., 2001, p4) Performers improvise using their bodies to express emotion and move upon impulse, which is what we are currently exploring in the making of Porto. Unlike conventional plays, physical theatre companies create their own work, rather than interpret the work of others. Instead it is up to the audience to interpret what they see in their own way.
In the Process and Performance module, we have learnt a variety of physical theatre techniques, and have explored the idea of ‘body memory’. This concept has become more apparent now the devising stage has begun, in that it is the body that remembers how to move not the mind.
2. When Ana Sanchez-Colberg describes physical theatre as having a ‘hybrid character’, she is implying that it combines the features of more than one genre, which is very much apparent when watching and analysing a performance. Although the term ‘physical theatre’ is still not recognised by all, it has been going for a long time, and there is evidence of inspiration from avant-garde, commedia dell’arte, mime, dance, different cultural traditions, even Japanese Noh theatre.
Physical theatre is not a straightforward practice. Some spectators fail to see the meaning of it and it is often described as experimental, pushing the boundaries of the human body and theatre traditions alike. It has evolved over the years, and although it employs techniques ‘borrowed’ from other genres such as dance, mime and stage combat, it is the way that these skills are collectively presented that has allowed its development into a whole new genre in its own right.
3. The work of the Jasmin Vardimon Company is a prime example of contemporary British physical theatre. The company use a blend of pedestrian and abstract movement to address social, cultural and political issues, and sometimes just simply to provide a profound insight into natural human behaviour.
From seeing the companies production of Yesterday, and viewing clips of other shows, it is easy to see that they apply a range of skills and techniques in their work. They use an eclectic mix of large physical action along with moments of stillness, various dance styles, gymnastics, and stage fighting, and combine it with spoken text, live video technology and other effects to create an exciting piece of physical theatre:
"With sharp instincts and provocative daring, she (Vardimon) has developed an individual choreographic voice, distinguished by her beautifully detailed movement, insightful humour and engaging drama." (http://www.jasminvardimon.com/about.html)
Bibliography:
Callery, D., (2001) Through the Body: A Practical Guide to Physical Theatre. London: Nick Hern Books Ltd
Jasmin Vardimon Company (date unknown) About Us: Jasmin Vardimon Company [online]. [cited 24th February 2009].
Available from: http://www.jasminvardimon.com/about.html
Leigh-Anne Gilbert
Tuesday 24 February 2009
Elizabeth Payne Blog Task 1
1.
There are no clear boundaries of physical theatre; it has been argue to be both dance theatre and performance theatre, as physical theatre relies on the body to explain or tell the narrative, if there is one. Barba states “it is not my words but perhaps only my presence that can say something” (Barba: 42) an action can only be conducted if it has a purpose and not merely for aesthetical appearance. Through training it has been learnt that “not through gestures and grandiloquent phrases but through the silent daily activity” (Barba: 37) can we create simple but eloquent movements simply using pedestrian, daily activates, gestures. It is not only the final product that signifies physical theatre from other genres but also the intense training process that must be conducted leading up to a performance. Throughout the process a performer is building their “colossal reserve of technical resources” (Meyerhold quoted in Twentieth Century Actor Training: Principles of Performance: 39) this in relation Meyerhold’s notion of Biomechanics where a actor and other actors can understand and experience where theirs and other actors weight is or how the body will finish at the start of a move. Each of these have been explored during the process module and explains that the process is just as key a feature as the final product in the physical theatre genre.
2.
When discussing the ‘hybrid character’ of physical theatre Sanchez-Colberg is implying that physical theatre is a fusion of various genres. These include dance theatre and traditional performance theatre. Physical theatre does not rely on the spoken word like traditional theatre, but more the body as a physical language.
“The overlapping of imagery and moves must culminate in a genuine physical language, no longer based on words but on signs formed through the combination of objects, silence, shouts and rhythms” (Artaud: 83)
objects being the physical stage and props given to the actor. These are then interacted with in a new physical language. Rather then speaking about a cup, for example or merely picking it up in a naturalistic way; with the use of the physical any interaction becomes expressive through the complete body. As a hybrid, physical theatre is incorporating the physical language of dance theatre and the performance aspects of traditional theatre and creating its own new physical language.
3.
Momentum is an established physical theatre company created in 2003. Their style is to use
“strong expressive body language that combines the art of movement/dance with a comic/tragic style of acting which creates a style of theatre accessible to its audience even if the story is abstractly approached.”
All of which appear within the physical theatre genre. The company produce workshops and performances dedicated to following the practices of physical theatre. To begin their work they do not necessarily use text based ideas or language but begin from a physical idea such as in The Dreadful Hours where the initial idea was the passage of time and the rhythms we experience in life. Physical theatre concepts can come from any source and are expressed through the language of the body. The trained performers in the Momentum theatre company all have a range of backgrounds and training, bringing into the importance the biomechanics of physical theatre.
Bibliography
Artaud, A (1993) The Theatre And Its Double London: Calder Publications Limited
Keefe, J & S Murray (2007) Physical Theatres: A Critical Reader London: Routledge
Hodge, A (2000) Twentieth Century Actor Training: Principles of Performance London: Routledge
Huxley, M, Huxley, M, Witts N (1996) The Twentieth Century Performance Reader London: Routledge
Momentum Theatre Company (2008) [Information Page] [online] [February 24th, 2009]
There are no clear boundaries of physical theatre; it has been argue to be both dance theatre and performance theatre, as physical theatre relies on the body to explain or tell the narrative, if there is one. Barba states “it is not my words but perhaps only my presence that can say something” (Barba: 42) an action can only be conducted if it has a purpose and not merely for aesthetical appearance. Through training it has been learnt that “not through gestures and grandiloquent phrases but through the silent daily activity” (Barba: 37) can we create simple but eloquent movements simply using pedestrian, daily activates, gestures. It is not only the final product that signifies physical theatre from other genres but also the intense training process that must be conducted leading up to a performance. Throughout the process a performer is building their “colossal reserve of technical resources” (Meyerhold quoted in Twentieth Century Actor Training: Principles of Performance: 39) this in relation Meyerhold’s notion of Biomechanics where a actor and other actors can understand and experience where theirs and other actors weight is or how the body will finish at the start of a move. Each of these have been explored during the process module and explains that the process is just as key a feature as the final product in the physical theatre genre.
2.
When discussing the ‘hybrid character’ of physical theatre Sanchez-Colberg is implying that physical theatre is a fusion of various genres. These include dance theatre and traditional performance theatre. Physical theatre does not rely on the spoken word like traditional theatre, but more the body as a physical language.
“The overlapping of imagery and moves must culminate in a genuine physical language, no longer based on words but on signs formed through the combination of objects, silence, shouts and rhythms” (Artaud: 83)
objects being the physical stage and props given to the actor. These are then interacted with in a new physical language. Rather then speaking about a cup, for example or merely picking it up in a naturalistic way; with the use of the physical any interaction becomes expressive through the complete body. As a hybrid, physical theatre is incorporating the physical language of dance theatre and the performance aspects of traditional theatre and creating its own new physical language.
3.
Momentum is an established physical theatre company created in 2003. Their style is to use
“strong expressive body language that combines the art of movement/dance with a comic/tragic style of acting which creates a style of theatre accessible to its audience even if the story is abstractly approached.”
All of which appear within the physical theatre genre. The company produce workshops and performances dedicated to following the practices of physical theatre. To begin their work they do not necessarily use text based ideas or language but begin from a physical idea such as in The Dreadful Hours where the initial idea was the passage of time and the rhythms we experience in life. Physical theatre concepts can come from any source and are expressed through the language of the body. The trained performers in the Momentum theatre company all have a range of backgrounds and training, bringing into the importance the biomechanics of physical theatre.
Bibliography
Artaud, A (1993) The Theatre And Its Double London: Calder Publications Limited
Keefe, J & S Murray (2007) Physical Theatres: A Critical Reader London: Routledge
Hodge, A (2000) Twentieth Century Actor Training: Principles of Performance London: Routledge
Huxley, M, Huxley, M, Witts N (1996) The Twentieth Century Performance Reader London: Routledge
Momentum Theatre Company (2008) [Information Page] [online] [February 24th, 2009]
Tuesday 10 February 2009
Blog Assessment 1
The task is written as the opening comment to this post.
The deadline is Wednesday 25th February 2009.
To view the original task post click here
Wednesday 4 February 2009
The Group
Here is the group list of contributors to this blog:-
- Amy James
- Ellen Marshall
- Anna Eftymiou
- Elizabeth Payne
- Leigh-Anne Gilbert
- Nicola Wilson
- Gavin Thatcher
Subscribe to:
Posts (Atom)