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]
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