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