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