Lauren Walker 0803093 Blog Assessment 2
1.The main strategy of devising through the process and in particular the R (Research) phase of the devising model was the method of working on impulse and response. This was conducted at the very beginning of the process through the play sessions which are allowed for the group as an entirety to experiment and develop their characters based on what we already knew about the synopsis, which came from previous devising. Oddey states that “Devised theatre can start from anything” (Oddey 1996: 1) which from working through this process I have learnt is true, we started by writing letters, which told our own story about the woman that had gone missing and from this we’ve built upon our own characters and developed the woman’s story. We then researched by bringing in items which we felt reflected those that belong to the missing woman. Through processes of play using impulse we have created devised material which has both been added to the final piece and material which has been thrown out. Marshall states that ‘all of us are in a constant state of impulse and response’ (Marshall, L., 2001, pg32) and we can use this experience in our work to showcase impulsive behaviour on stage. A method which had been useful in developing ensemble pieces was the clap method which allowed for a fair process and allowed the work to develop without the need to discuss what to do; this therefore led to a more impulsive and exciting ensemble pieces.
2.At the beginning of the devising process my character had no clear definement until we were set the task of writing a letter regarding the missing woman and to state in what capacity we were involved in this. My character originally was very distant from the missing woman and did not know her as well as other in the community, but as the devising process has built my character has built and changed as well. This is because my character was drawn in by the other people in the community and my character felt their sadness and distress of not knowing what has happened to this missing woman. My character has fed off other people in the community and drawn her own conclusions from the feelings of others around her. I believe the reason for this is because my character has formed relationships with others on stage, “devising depends on relationships and chemistry between people.” (Oddey, A. 1996:P.66) This is where my character has changed, and now feels sympathy for the missing woman and also for the other people in the community who also want to know what has happened to the woman. I think my character constantly builds every session, which in the devising process is expected as devising is work in progress; therefore my character isn’t completely refined at this moment in the devising process and may change again as a result of impulses developed on stage between myself and other characters.
3.The main physicality that my character takes is to be close to others, feeling safe around others. One physicality which I think is strong with my character is the constant eye contact with others, this is a strong signal to the audience that are watching and can mean many different things, in the instance there is a strong linked contact through the eyes that means that the other person is being watched my character, this is mostly aimed to Andy’s character. My character also demonstrates at this moment in the process a lot of closed body language such as folding her arms to shield herself away from others, but then when she feels a sense of security she clings on to other for support and safety. All though there is a feeling of conformity during the group ensembles, there is still a feeling of individuality displayed physically by my character. Callery states that ‘characters change during the course of a play’ (Callery, D: 2001 p 211) and this I believe is a statement which describes my character physicality as my character gets stronger mentally as the play goes on by standing straight backed. During the bar scene, my character displays a lack of concern in the body language for the woman. Later on in the second ensemble piece my physicality to Andy changes as I become more closed to him as my character wishes to distance herself away from Andy, even though she doesn’t completely know what has happened, she has some kind of idea from the rest of the ensemble.
Bibliography
Callery, D (2001): Through The Body: New York: Routledge
Marshall L. (2001) The Body Speaks. London: Methuen Publishing Ltd.
Oddey A, 1996, Devising Theatre: A Practical and Theoretical Handbook :Routledge: London
Wednesday, 24 March 2010
Hayley Rockley. Blog 2. 0818681
1.
Physical theatre is essentially story telling through the body. In order to convey a story, characters and emotions through just the body one must utilise the most effective key strategies.
During the devising of Four Ways To Speak Out, it was decided that abstract and pedestrian movements were to be used. In order to for the group to communicate their views the ‘Clap Method’ was used. We would stand together in our ensemble and when a performer had an idea they would clap, perform the movement and the group would follow and so on. This is a particularly efficient strategy as the group remains focused and quite, there are no disruptions or struggling to ones ideas heard. The ‘Clap Method’ also gives the actor the option to be pedestrian or abstract. As I have found out it is just as effective for the ensemble to convey more pedestrian gestures to communicate a strong meaning, than as with abstract movement
Improvisation was also used in the devising process, as a way of becoming a naturalistic community as we ''all improvise everyday when we talk to our friends and family" (http://artswork.asu.edu/arts/students/tb/05_00_acting.htm). It also enables us to build ensemble rapport and develop each individual’s character.For example, when reflecting on the ensemble when we started to our current stage, the improvised moments are natural, the performers know who they are with, why and where in the space wich results in a more natural performance. Improvisation also meant that as a group we did not talk and analyse the action as much and to see what we naturally got out of it.
During the devising process we consciouslly reffered back to Rober Lepage’s ‘RSVP’ theory, (Research, Score, Validate and Performance). I believe research is an important part of devising. Without it the story would not be at all believable or truthful. So to avoid this we researched the domestic violence charity ‘Four Ways To Speak Out’, read real life stories, and listened to interviews with the victims familys. This helped to provoke the emotion that the performance needs to be believable and convey some sort of reaction out of the audience.
2.
At the beginning of the devising process, it took me a while to fully understand the character I would portray. At first I thought of myself as the woman’s friend, however during the improvistation I found myself becoming frustrated and uninterested. So I began to feel that maybe my character was friends with the woman but often got let down by her, maybe because of the relationship that the woman was in. I came to this conclusion by drawing upon my own experiences.
However, as I am now one of the four representations of the ‘Woman’, I have felt my other character change slightly. It is portrayed more passive, as if I did not know the woman well, but has heard rumours. I still have a slight disinterested stance at the beginning, although when acknowledging the diary entries, my ensemble character does not quite understand, (maybe does not even want to understand) and cannot imagine how someone could let themselves be bullied like the woman is. This originates from my own views on domestic violencen and from playing a part of the woman. From the ‘Attemping to Leave’ section I have begun to emotionally feel how it would be like to be in that situation because the movement is so intense. For example, I am thrown around like a rag doll. It almost too awfull to think about or comprehend and so has influenced my ensemble character to be reluctant in wanting to hear what the woman has endured.
At the current stage of devising I must refine my two characters so they are clearly differentiated.
3.
It is vital, that through nutrality, I lose my own personal mannerisms and characteristic in order to make my characters believable.
With conveying two very different characters it is essential that they are differentiated through their movements in the space. The ensemble character occupys a guarded whereas the woman representation holds a more helpless stance.
When walking through the space as the ensemble character my arms cross infront of me, my head down and my spine curved , as if the body is closing into a tight fist ready to defend itself if anyone comes near. I do not speak thoughout the performance, as I do not feel it neccessary to do so. The ensemble character is defensive and so I distance myself from the other performers and do not verbally interact. I believe this will be just as effective as long as I maintain strong body language as " there is an authenticity and truthfulness about these forms because they retain the potential of being untainted and unmediated by the sophistry and deciet of language." (Keefe and Murray (2007) pg. 21). When observing the diary entries and flashbacks I am rarely sitting, it feels more alert for the character to stand.
Whereas, when portrayin the ‘woman’, my body is almost lifeless, helpless and so is often falling to the floor. This communicates the lack of will and ennergy the woman has in escaping or atleast doing anything about her situation.
When performing ‘Attempting to Leave’ I feel as though I am at odds with my body, I want to stand up straight as if to stand up for myself but am constantly battling setbacks that (quite literally) knock me down.
Bibliography.
Murray, S and Keefe, J. (2007) Physical Theatre: a critical introduction. London: Routledge.
Other Sources.
http://artswork.asu.edu/arts/students/tb/05_00_acting.htm [Accessed 24th March 2010]
Physical theatre is essentially story telling through the body. In order to convey a story, characters and emotions through just the body one must utilise the most effective key strategies.
During the devising of Four Ways To Speak Out, it was decided that abstract and pedestrian movements were to be used. In order to for the group to communicate their views the ‘Clap Method’ was used. We would stand together in our ensemble and when a performer had an idea they would clap, perform the movement and the group would follow and so on. This is a particularly efficient strategy as the group remains focused and quite, there are no disruptions or struggling to ones ideas heard. The ‘Clap Method’ also gives the actor the option to be pedestrian or abstract. As I have found out it is just as effective for the ensemble to convey more pedestrian gestures to communicate a strong meaning, than as with abstract movement
Improvisation was also used in the devising process, as a way of becoming a naturalistic community as we ''all improvise everyday when we talk to our friends and family" (http://artswork.asu.edu/arts/students/tb/05_00_acting.htm). It also enables us to build ensemble rapport and develop each individual’s character.For example, when reflecting on the ensemble when we started to our current stage, the improvised moments are natural, the performers know who they are with, why and where in the space wich results in a more natural performance. Improvisation also meant that as a group we did not talk and analyse the action as much and to see what we naturally got out of it.
During the devising process we consciouslly reffered back to Rober Lepage’s ‘RSVP’ theory, (Research, Score, Validate and Performance). I believe research is an important part of devising. Without it the story would not be at all believable or truthful. So to avoid this we researched the domestic violence charity ‘Four Ways To Speak Out’, read real life stories, and listened to interviews with the victims familys. This helped to provoke the emotion that the performance needs to be believable and convey some sort of reaction out of the audience.
2.
At the beginning of the devising process, it took me a while to fully understand the character I would portray. At first I thought of myself as the woman’s friend, however during the improvistation I found myself becoming frustrated and uninterested. So I began to feel that maybe my character was friends with the woman but often got let down by her, maybe because of the relationship that the woman was in. I came to this conclusion by drawing upon my own experiences.
However, as I am now one of the four representations of the ‘Woman’, I have felt my other character change slightly. It is portrayed more passive, as if I did not know the woman well, but has heard rumours. I still have a slight disinterested stance at the beginning, although when acknowledging the diary entries, my ensemble character does not quite understand, (maybe does not even want to understand) and cannot imagine how someone could let themselves be bullied like the woman is. This originates from my own views on domestic violencen and from playing a part of the woman. From the ‘Attemping to Leave’ section I have begun to emotionally feel how it would be like to be in that situation because the movement is so intense. For example, I am thrown around like a rag doll. It almost too awfull to think about or comprehend and so has influenced my ensemble character to be reluctant in wanting to hear what the woman has endured.
At the current stage of devising I must refine my two characters so they are clearly differentiated.
3.
It is vital, that through nutrality, I lose my own personal mannerisms and characteristic in order to make my characters believable.
With conveying two very different characters it is essential that they are differentiated through their movements in the space. The ensemble character occupys a guarded whereas the woman representation holds a more helpless stance.
When walking through the space as the ensemble character my arms cross infront of me, my head down and my spine curved , as if the body is closing into a tight fist ready to defend itself if anyone comes near. I do not speak thoughout the performance, as I do not feel it neccessary to do so. The ensemble character is defensive and so I distance myself from the other performers and do not verbally interact. I believe this will be just as effective as long as I maintain strong body language as " there is an authenticity and truthfulness about these forms because they retain the potential of being untainted and unmediated by the sophistry and deciet of language." (Keefe and Murray (2007) pg. 21). When observing the diary entries and flashbacks I am rarely sitting, it feels more alert for the character to stand.
Whereas, when portrayin the ‘woman’, my body is almost lifeless, helpless and so is often falling to the floor. This communicates the lack of will and ennergy the woman has in escaping or atleast doing anything about her situation.
When performing ‘Attempting to Leave’ I feel as though I am at odds with my body, I want to stand up straight as if to stand up for myself but am constantly battling setbacks that (quite literally) knock me down.
Bibliography.
Murray, S and Keefe, J. (2007) Physical Theatre: a critical introduction. London: Routledge.
Other Sources.
http://artswork.asu.edu/arts/students/tb/05_00_acting.htm [Accessed 24th March 2010]
Tuesday, 23 March 2010
Andrew Smith - 0823118 - Blog Post 2
Andrew Smith – 0823118
Assessment: Blog 2
‘Devising is about thinking, conceiving and forming ideas’ (Oddey, 1994, pg 1)
Devising for Physical Theatre requires intense amount of research, understanding of appropriate devising methods and more importantly complete consideration of the subject matter being focused upon. During the process of creating Four Ways to Speak Out, several concepts of devising have been explored. One theory is that of Robert Lepage’s ‘RSVP’. This outlines the process in which devised theatre is created. It is a breakdown of how the devising process is ordered: Research, Score, Validate and Performance. This method soon provided a structure for creative play in which we explored the clap method. This allows ideas for ensemble movement to be created quickly without constant verbal interruptions and provides the opportunity for ideas to be placed into the piece or discarded easily. Many members of the ensemble thought the clap method to live up to reputation and felt they had made sufficient progress by using this. However, I disagree somewhat with this. I can appreciate how it allows large groups of people opportunity to physicalise ideas without the need for constant conversation, but on the other hand, the devising process can become increasingly intense and masses of ideas may be lost by constant use of clapping for new ideas. Therefore, I feel some degree of verbal communication is needed in ensuring ideas are developed and fully explored to their potential. During the creative process, especially during the early stages ‘play’ sessions of contact improvisation was used to not only help us understand the need for contact within physical theatre, but also to fully appreciate how we can use different parts of our body when working with other people. “Contact Improvisation is a dance form in which the point of contact with another dancer provides the starting point for a movement exploration”. (http://www.contactimprovisation.co.uk/whatis.htm) The ‘play’ sessions undertaken also aided the ensemble to strip any embarrassment and self consciousness which allowed freedom for creativity. After all, we are portraying a community that has very tight relationships with one another, therefore, it is paramount we develop a strong working ethic and trust the group before even thinking of creating material. ‘Groups are complex. They are composed of a number of individuals, each with unique qualities, skills, personalities, experiences, expectations, insights and needs’. (Westergaard, 2009, pg 116). The knowledge gained during creative ‘play’ was bewildering. It opened up the company to the idea that movement can be creative not only by using the mind, but relying on the body to create a foundation of movement which can be modified and built upon. It important to note that during the devising process things will change and performers should avoid become precious and attached to what they create. This is one challenge I faced during this module. It is very hard as a performer to not grow and attachment to material in which you create, however devised theatre requires you to put this practice aside and adhere to the notion that any material that is not used is a stepping stone to material which is more appropriate for the subject matter and character development. The final element used during this process was the constant use of research and investigation. Our subject matter is domestic violence and it is vital that we understand the stimulus before attempting to explore it. Articles and journals were brought in and read to the company and our own individual character research was untaken. This was achieved in the form of letters. Each member of the community wrote a letter speaking of the disappearance of the ‘woman’. This allowed each of us to create a basis for a character and establish the relationship we shared with her, which would later prove to be imperative in establishing the reaction to her disappearance.
Throughout the devising process, it is expected that characters will change and modify from rehearsals to the final performance. “All of us are in a constant state of impulse and response” (Marshall, L, 2001, pg32) However, I underestimated to what extent my character would change. The initial writing of my letter insinuated that I was a very close friend of the woman who disappeared and I was traumatised by her disappearance that I had become a complete social recluse, avoiding contact with other people in the community at all costs. However as the preset to Four Ways to Speak Out was constructed I noticed that other people in the ensemble reacted to my distance differently. The community interpreted my distance as a sign that I may have known or have had something to do with her disappearance. This changed my character somewhat. I realised that other people involved in the ensemble had huge influence on my character development which reflects the point of Oddey who states ‘it is about inventing, adapting and creating what you do as a group’ (Oddey, 1994, pg 1). It is from this point onwards my character gradually progressed from someone I wanted the audience to sympathise with to someone who they would detest and blame. The devising process requires the creation of a character to be continually modifying. The audience are taken on a journey with the characters; therefore, the actor must play an active role in that journey, being guided and moulded by their surroundings, being led by the characters natural development, not by analytical thought processes. At the time of writing the company are within three weeks of going to performance, and I am sure that my character will continue to develop up until the opening night and beyond until the final performance. ‘The length of process varies with every show’. (Oddey, 1994, pg 91). This is utterly thrilling for me as a performer. Most conventional theatre require the actor to understand their character fully weeks before the performance goes public, however devised performance works differently. You are constantly learning new things about your character, discovering different intentions and relationships and finding new focal points within the work. It is these above points which make devised theatre an enthralling performance genre.
In order to develop my character physically, it was vital that all the physical and habitual traits I embody as person were stripped away. ‘Focus on breaking down ingrained patterns of movement before creating new ones’ (Callery, 2001, pg 19) I not only had to dismiss the make-up of my personality, but had to create a blank neutral slate for which to re-invent my character. “The concept of neutrality embraces both the idea of stripping away our habitual ways of moving and discovering an inner calm where we are relaxed and open to possibilities.” (Callery,2001,p36) Most of the personality and movement traits we have as individuals are completely involuntary and very rarely noticed by ourselves. Therefore, becoming aware of what our traits are as individuals was the first process in which to create a fresh character. During the initial opening sequence, my character is comfortable with his surroundings and has no emotional baggage in which he is carrying. I hold my head high, my shoulders back and my feet firmly rooted in the ground which communicates stability. One essential character trait is that he feels he is above the rest of the community. He can do no wrong and people within the community look up to him. Women want to be with him and men inspire to be him. Therefore, I constructed a slight strut for my character, which was created by embodying relaxed gestures, hands in my pockets, relaxed and well poised shoulders and bent knees avoiding seeming ridged at all times. These simple redefined bodily stances help communicate that my character is at ease with himself and his surroundings. However, this contrasts dramatically as the piece progresses. During the period the community realise the woman has disappeared by physicality changes somewhat. No longer do I stand up right, well poised with my feet rooted in the ground, I embody a slightly bent back, holding my head down, constantly shifting my weight from side to side, which displays that my character has become unstable with a negative approach to everything in his path. Again this is contrasted when the community turn their back on him. He tries his upmost to become a part of the community once more and the only way to do this is to seem well balanced. He returns to rooting his feet in floor, resting his chest high and bent knees. However, there is one vital difference. Unlike before, he snaps his movements; his head jerks whenever he draws his attention to something and his eyes are constantly wandering sporadically. This communicates that no matter how hard he tries to seem to have a stable mind, subconscious shows something different. Finally I have come to the conclusion that my character has one repetitive movement when faced with pressure. He constantly rubs his eyes. This I hope will communicate to the audience that not only is he agitated, he regularly closes his eyes and rubs them in attempt to hide his vision from the horrific reality of what he has done to the person he claims to love.
Bibliography:
- Callery, D. Through the Body: A practical guide to Physical Theatre. 2001: Routledge: New York. Nick Hern Books: London.
- Marshall, L. The body Speaks (2001) London: Methuen.
- Oddey, A. Devising Theatre: A practical and theoretical handbook. 1994. Routledge.
- Westergaard, J. Effective Group Working with Young People. (2009). Open University Press.
Other Sources:
- http://www.contactimprovisation.co.uk/whatis.htm. Accessed on 20th March 2010.
Assessment: Blog 2
‘Devising is about thinking, conceiving and forming ideas’ (Oddey, 1994, pg 1)
Devising for Physical Theatre requires intense amount of research, understanding of appropriate devising methods and more importantly complete consideration of the subject matter being focused upon. During the process of creating Four Ways to Speak Out, several concepts of devising have been explored. One theory is that of Robert Lepage’s ‘RSVP’. This outlines the process in which devised theatre is created. It is a breakdown of how the devising process is ordered: Research, Score, Validate and Performance. This method soon provided a structure for creative play in which we explored the clap method. This allows ideas for ensemble movement to be created quickly without constant verbal interruptions and provides the opportunity for ideas to be placed into the piece or discarded easily. Many members of the ensemble thought the clap method to live up to reputation and felt they had made sufficient progress by using this. However, I disagree somewhat with this. I can appreciate how it allows large groups of people opportunity to physicalise ideas without the need for constant conversation, but on the other hand, the devising process can become increasingly intense and masses of ideas may be lost by constant use of clapping for new ideas. Therefore, I feel some degree of verbal communication is needed in ensuring ideas are developed and fully explored to their potential. During the creative process, especially during the early stages ‘play’ sessions of contact improvisation was used to not only help us understand the need for contact within physical theatre, but also to fully appreciate how we can use different parts of our body when working with other people. “Contact Improvisation is a dance form in which the point of contact with another dancer provides the starting point for a movement exploration”. (http://www.contactimprovisation.co.uk/whatis.htm) The ‘play’ sessions undertaken also aided the ensemble to strip any embarrassment and self consciousness which allowed freedom for creativity. After all, we are portraying a community that has very tight relationships with one another, therefore, it is paramount we develop a strong working ethic and trust the group before even thinking of creating material. ‘Groups are complex. They are composed of a number of individuals, each with unique qualities, skills, personalities, experiences, expectations, insights and needs’. (Westergaard, 2009, pg 116). The knowledge gained during creative ‘play’ was bewildering. It opened up the company to the idea that movement can be creative not only by using the mind, but relying on the body to create a foundation of movement which can be modified and built upon. It important to note that during the devising process things will change and performers should avoid become precious and attached to what they create. This is one challenge I faced during this module. It is very hard as a performer to not grow and attachment to material in which you create, however devised theatre requires you to put this practice aside and adhere to the notion that any material that is not used is a stepping stone to material which is more appropriate for the subject matter and character development. The final element used during this process was the constant use of research and investigation. Our subject matter is domestic violence and it is vital that we understand the stimulus before attempting to explore it. Articles and journals were brought in and read to the company and our own individual character research was untaken. This was achieved in the form of letters. Each member of the community wrote a letter speaking of the disappearance of the ‘woman’. This allowed each of us to create a basis for a character and establish the relationship we shared with her, which would later prove to be imperative in establishing the reaction to her disappearance.
Throughout the devising process, it is expected that characters will change and modify from rehearsals to the final performance. “All of us are in a constant state of impulse and response” (Marshall, L, 2001, pg32) However, I underestimated to what extent my character would change. The initial writing of my letter insinuated that I was a very close friend of the woman who disappeared and I was traumatised by her disappearance that I had become a complete social recluse, avoiding contact with other people in the community at all costs. However as the preset to Four Ways to Speak Out was constructed I noticed that other people in the ensemble reacted to my distance differently. The community interpreted my distance as a sign that I may have known or have had something to do with her disappearance. This changed my character somewhat. I realised that other people involved in the ensemble had huge influence on my character development which reflects the point of Oddey who states ‘it is about inventing, adapting and creating what you do as a group’ (Oddey, 1994, pg 1). It is from this point onwards my character gradually progressed from someone I wanted the audience to sympathise with to someone who they would detest and blame. The devising process requires the creation of a character to be continually modifying. The audience are taken on a journey with the characters; therefore, the actor must play an active role in that journey, being guided and moulded by their surroundings, being led by the characters natural development, not by analytical thought processes. At the time of writing the company are within three weeks of going to performance, and I am sure that my character will continue to develop up until the opening night and beyond until the final performance. ‘The length of process varies with every show’. (Oddey, 1994, pg 91). This is utterly thrilling for me as a performer. Most conventional theatre require the actor to understand their character fully weeks before the performance goes public, however devised performance works differently. You are constantly learning new things about your character, discovering different intentions and relationships and finding new focal points within the work. It is these above points which make devised theatre an enthralling performance genre.
In order to develop my character physically, it was vital that all the physical and habitual traits I embody as person were stripped away. ‘Focus on breaking down ingrained patterns of movement before creating new ones’ (Callery, 2001, pg 19) I not only had to dismiss the make-up of my personality, but had to create a blank neutral slate for which to re-invent my character. “The concept of neutrality embraces both the idea of stripping away our habitual ways of moving and discovering an inner calm where we are relaxed and open to possibilities.” (Callery,2001,p36) Most of the personality and movement traits we have as individuals are completely involuntary and very rarely noticed by ourselves. Therefore, becoming aware of what our traits are as individuals was the first process in which to create a fresh character. During the initial opening sequence, my character is comfortable with his surroundings and has no emotional baggage in which he is carrying. I hold my head high, my shoulders back and my feet firmly rooted in the ground which communicates stability. One essential character trait is that he feels he is above the rest of the community. He can do no wrong and people within the community look up to him. Women want to be with him and men inspire to be him. Therefore, I constructed a slight strut for my character, which was created by embodying relaxed gestures, hands in my pockets, relaxed and well poised shoulders and bent knees avoiding seeming ridged at all times. These simple redefined bodily stances help communicate that my character is at ease with himself and his surroundings. However, this contrasts dramatically as the piece progresses. During the period the community realise the woman has disappeared by physicality changes somewhat. No longer do I stand up right, well poised with my feet rooted in the ground, I embody a slightly bent back, holding my head down, constantly shifting my weight from side to side, which displays that my character has become unstable with a negative approach to everything in his path. Again this is contrasted when the community turn their back on him. He tries his upmost to become a part of the community once more and the only way to do this is to seem well balanced. He returns to rooting his feet in floor, resting his chest high and bent knees. However, there is one vital difference. Unlike before, he snaps his movements; his head jerks whenever he draws his attention to something and his eyes are constantly wandering sporadically. This communicates that no matter how hard he tries to seem to have a stable mind, subconscious shows something different. Finally I have come to the conclusion that my character has one repetitive movement when faced with pressure. He constantly rubs his eyes. This I hope will communicate to the audience that not only is he agitated, he regularly closes his eyes and rubs them in attempt to hide his vision from the horrific reality of what he has done to the person he claims to love.
Bibliography:
- Callery, D. Through the Body: A practical guide to Physical Theatre. 2001: Routledge: New York. Nick Hern Books: London.
- Marshall, L. The body Speaks (2001) London: Methuen.
- Oddey, A. Devising Theatre: A practical and theoretical handbook. 1994. Routledge.
- Westergaard, J. Effective Group Working with Young People. (2009). Open University Press.
Other Sources:
- http://www.contactimprovisation.co.uk/whatis.htm. Accessed on 20th March 2010.
Blog 2, Victoria Power, 0805626
Question 1.
Throughout the whole of the creative process of devising Four Ways to Speak Out, we have been collectively as a group been able to present new ideas through the use of ways such as the ‘clap’ method. Not only was this method useful in getting people’s ideas across to the rest of the group efficiently, but it also meant that we all stayed on task without straying off into a discussion which could possibly have reflected on matters outside of the creative space. The use of learning a wide range of different techniques, and creating a ‘palette’, was greatly beneficial towards the group, and meant that we could all use the palette during our ‘play’ sessions to experiment with. The use of the palette and the play sessions also helped us to become more confident in the way our bodies move and how they feel comfortable moving within the space, thus helping us towards the creation of an individual character for Four Ways to Speak Out. Callery writes in her 2002 book ‘Through the Body’ ‘You can play with space, with objects, with energy, with each other, without necessarily creating any tangible product’. This statement in my opinion is true. Throughout the use of these play sessions and miniature group sessions, we have all successfully been able to create an individual character suited to us, yet remain as a community through the way we communicate and participate with and around each other.
Question 2.
At this point in the production, I feel that my character is still on a journey and is still growing though the work which we are creating. Initially my character was a very close friend to the woman, and through the use of the letter writing, I found that my character had a certain dependency on the woman. My character was slightly paranoid about how she was perceived by the surrounding community. She felt that she was not as respectable and a trouble maker in comparison to the woman. At points throughout the piece my character does appear to be a less respectable person. This can be seen during the first flash back. My character is going on a night out in a skimpy revealing outfit. She’s also a bit of a flirt as she, and the other female companions, try to win over Andy’s character. However as we have progressed though the development of the ensemble pieces, this changes through time. During the opening section I start by walking through the street and occasionally entering the bar with Charlotte, talking and having a laugh as friends. This is different to the first time we set this scene. At first I found myself in the bedroom, and on some occasions, didn’t have a strong connection with the hustle and bustle of people realising that the woman had gone missing. Throughout the creation of the second ensemble piece, I have found that my character has become quite protective over Steph and also towards Dawn as she gets drawn in by Andy. I feel that my relationship with Steph during this section of the piece is of a sisterly bond rather than of a friendship.
Question 3.
My character, still being on a journey and yet having to reach its full structural height within the piece, cannot fully be identified physically through the use of body language. However, during different stages of the woman’s life, my character has grown up and this can be seen during the piece. The first flashback is the earliest image we have of the woman and her friends. During this section my character moves in a stylised manner, being a ‘base’ for a catch and a quick yet powerful encounter with Andy’s character. However as the scene progresses and we witness the woman being manipulated by Andy, my body becomes a representation of what is happening to the woman. However as we work our way through the piece my character becomes more mature. At times however, we see how uncomfortable my character can feel. An example of this is during the confrontation between Dan and Andy. As the male characters confront each other, the neighbourhood gradually move from the tight knitted community we have just witnessed, into a more dispersed formation. Watching the male characters during this scene makes me feel quite uncomfortable and somewhat vulnerable, and this shows through my body language; arms folded, and the repetition of a very pedestrian rubbing of the back of the neck. Working our way further through the piece into the next ensemble scene, I feel that my character has now taken on a more elder sisterly role towards Steph. My body language here again becomes slightly different, with me running to save Steph from her fall, and the way in which I almost wrap myself around her as a means of protection from a negative outside influence. I think that as we work our way even further through the piece, it will become apparent to myself and the audience, that once again my character has become more mature and shielding towards characters that I have been drawn to.
Bibliography.
Callery, D. (2002) Through the Body. London: Routledge.
Throughout the whole of the creative process of devising Four Ways to Speak Out, we have been collectively as a group been able to present new ideas through the use of ways such as the ‘clap’ method. Not only was this method useful in getting people’s ideas across to the rest of the group efficiently, but it also meant that we all stayed on task without straying off into a discussion which could possibly have reflected on matters outside of the creative space. The use of learning a wide range of different techniques, and creating a ‘palette’, was greatly beneficial towards the group, and meant that we could all use the palette during our ‘play’ sessions to experiment with. The use of the palette and the play sessions also helped us to become more confident in the way our bodies move and how they feel comfortable moving within the space, thus helping us towards the creation of an individual character for Four Ways to Speak Out. Callery writes in her 2002 book ‘Through the Body’ ‘You can play with space, with objects, with energy, with each other, without necessarily creating any tangible product’. This statement in my opinion is true. Throughout the use of these play sessions and miniature group sessions, we have all successfully been able to create an individual character suited to us, yet remain as a community through the way we communicate and participate with and around each other.
Question 2.
At this point in the production, I feel that my character is still on a journey and is still growing though the work which we are creating. Initially my character was a very close friend to the woman, and through the use of the letter writing, I found that my character had a certain dependency on the woman. My character was slightly paranoid about how she was perceived by the surrounding community. She felt that she was not as respectable and a trouble maker in comparison to the woman. At points throughout the piece my character does appear to be a less respectable person. This can be seen during the first flash back. My character is going on a night out in a skimpy revealing outfit. She’s also a bit of a flirt as she, and the other female companions, try to win over Andy’s character. However as we have progressed though the development of the ensemble pieces, this changes through time. During the opening section I start by walking through the street and occasionally entering the bar with Charlotte, talking and having a laugh as friends. This is different to the first time we set this scene. At first I found myself in the bedroom, and on some occasions, didn’t have a strong connection with the hustle and bustle of people realising that the woman had gone missing. Throughout the creation of the second ensemble piece, I have found that my character has become quite protective over Steph and also towards Dawn as she gets drawn in by Andy. I feel that my relationship with Steph during this section of the piece is of a sisterly bond rather than of a friendship.
Question 3.
My character, still being on a journey and yet having to reach its full structural height within the piece, cannot fully be identified physically through the use of body language. However, during different stages of the woman’s life, my character has grown up and this can be seen during the piece. The first flashback is the earliest image we have of the woman and her friends. During this section my character moves in a stylised manner, being a ‘base’ for a catch and a quick yet powerful encounter with Andy’s character. However as the scene progresses and we witness the woman being manipulated by Andy, my body becomes a representation of what is happening to the woman. However as we work our way through the piece my character becomes more mature. At times however, we see how uncomfortable my character can feel. An example of this is during the confrontation between Dan and Andy. As the male characters confront each other, the neighbourhood gradually move from the tight knitted community we have just witnessed, into a more dispersed formation. Watching the male characters during this scene makes me feel quite uncomfortable and somewhat vulnerable, and this shows through my body language; arms folded, and the repetition of a very pedestrian rubbing of the back of the neck. Working our way further through the piece into the next ensemble scene, I feel that my character has now taken on a more elder sisterly role towards Steph. My body language here again becomes slightly different, with me running to save Steph from her fall, and the way in which I almost wrap myself around her as a means of protection from a negative outside influence. I think that as we work our way even further through the piece, it will become apparent to myself and the audience, that once again my character has become more mature and shielding towards characters that I have been drawn to.
Bibliography.
Callery, D. (2002) Through the Body. London: Routledge.
Wednesday, 3 March 2010
Andrew Smith Blog 1 0823118
The genre of Physical Theatre, has for various reasons been misinterpreted by many as it is a style that incorporates not only physical narrative but movement and also elements of dance. One of the noticeable features of Physical Theatre is that it relies solely on the actor’s skill at looking at the world around them, interpreting what they see within society and applying creativity to it. This genre does not rely on written text as conventional contemporary theatre does. ‘Physical theatre is emerging as an increasingly popular form’ (Callery,2001,blurb) and it is important that physical theatre does not become confused with dance. However, it is important to note that they both have the similar aims which are to ‘wrestle the notions of the ‘real’, but offer a range of strategies for reaching and communicating this elusive-and perhaps, illusory state’ (Keefe and Murray,2007,pg20) These two elements are completely separate performance styles. Firstly dance requires the performers to follow tightly choreographed movement, which is followed and linked by a series of motifs which develop. However, physical theatre invites the performers to engage in spontaneous devising of movement which acts as a narrative to tell a story. One of the things I found very strange when engaging in this module was the fact that how movement in physical theatre does not have to look clean and well constructed. I soon learnt that it is often seen better to create movement which is contorted and un-refined if it is true to the narrative, rather than movement which looks appealing; however has no relevance to the narrative and/or stimulus. Dance is a genre which strives ultimately to please the audience however and throughout the process I have begun to understand that Physical Theatre attempts to portray a story or message through use of body movement which ultimately will emotionally affect the audience rather than impress them with well constructed beautiful movement. Another key feature of Physical Theatre is the use of pedestrian movement within this genre. Whilst adding to our palette we have learnt that pedestrian movement can often provide more for codes to be decoded than extravagant stylised movement with lifts and connective movement. This, I believe is an intriguing factor of physical theatre. If small pedestrian movement can have such a big impact on audience, then surely there are no ends of the creative things you can do with small minimalistic movement. Physical Theatre is a genre which requires the actor to devise creatively from their ideas, however some of these ideas may change as they develop throughout the creative process or even be deleted out of the product altogether. This is something which at first various members of the company found difficult. However, I found this completely refreshing. Physical Theatre provides endless possibilities for development. Therefore, one shouldn’t become despondent with ideas being removed as new rejuvenated ideas can inserted just as we easily.
If we as performers were to group physical theatre as one specific unit this would not be a true reflection of the genre. Physical Theatre is many things. As said before, this style of theatre is not dance however traditional theatre either, it is a combination of both mediums including avant-Garde theatre. This I believe is what Ana Sanchez-Colberg implies by the ‘Hybrid Character’ (Sanchez-Colberg in Keefe & Murray; 2007, p 21) of physical theatre. Colberg’s analysis of this unique genre is a perfect example that physical theatre does not rest alone. Physicality, mime, Avant-Garde theatre and spoken language are all elements of physical theatre which join together to create this truly innovative approach; a approach which is continually ‘breaking down the barriers between dance and theatre’ and is ‘taking risks both aesthetically and physically’. (Keefe and Murray;2007,p20) Steven Berkoff is a huge iconic figure in physical theatre and more importantly has created his own genre of physical theatre called ‘total theatre’ which employs a heightened state of physicality which Aleks Sierz views as ‘in yer face’(www.stevenberkoff.com). Physical theatre encourages performers to engage in their own personal interpretive skills and invites participants to investigate the ways in which performance is made. This is a teaching style used by Jacques Lecoq who’s main interest was centred around mime (an integral part of physical theatre) and he also engages with his interest of actors finding their own personal journey through dramatic content. Physical Theatre allows performers to develop a continuing communication between audience and performer. It permits audience members to pay witness to all of the different features physical theatre has to offer. Physicality, mime, naturalistic, stylised and pedestrian movements all join together to create something which audience members can interpret as they wish, which will enable them to gain a great deal of understanding from the performance. I personally believe that physical theatre is a hybrid theatre genre. There are many elements within this form of theatre that bind together to create a what we know as physical theatre. It stands alone as one genre but the individual fragments are important to making it such fluid, free and ultimately collaborative style.
As Physical Theatre steadily becomes a recognised and expanding theatre form, a large amount of companies are creating inspirational and pioneering work. One company I feel are a true reflection of what physical theatre is are ‘Void Physical Theatre’. The company established themselves in 2007 and have grown from strength to strength. The primary focus of the company is the representation of everyday life. The company does not have a moral behind their work, they merely look at the society around them, the ‘movement’ of everyday life and the happenings of all that’s normal and interpret it to suit their companies strengths. The company originated and are based in Wolverhampton and is the first professional physical theatre company in the Midlands. The company are respected by many other physical theatre companies throughout the region and has impressed those who have witnessed their work by ‘exploring the boundaries of communication’ and the company continually ‘produces work that unifies contemporary dance and drama’. (www.voidphysicaltheatre.co.uk) The work of this company falls directly into the physical theatre genre as they explore issued raised in a stylised form ‘exploiting the body to express intense narrative with an aim to mutate pedestrian movement to present an abstract view of society’ (www.voidphysicaltheatre.co.uk). Past productions of this company include Room to Breathe which provides the audience with a vivid portrayal of sexuality and the journey one goes on to find themselves. Void physical theatre does not hesitate in pushing the boundaries which traditional theatre has set in place and I believe that this is one of the main factors that cement this theatre company in the physical theatre genre.
Bibliography:
- Keefe, J & S Murray (2007) Physical Theatres: A Critical Reader London: Routledge
- Neelands, J (2001) Theatre Directions: Hodder and Stoughton
- Callery, D (2001) Through the Body: A practical Guide to Physical Theatre: Nick Hern Books LTD.
Other Sources:
www.voidphysicaltheatre.co.uk
www.stevenberkoff.com
https://wolf.wlv.ac.uk/spal/38840/Process%20%26%20Performance%20-%20Devising%20for%20Physical%20Theatre.ppt?menu=330275 (PROCESS AND PERFORMANCE DEVISING FOR PHYSICAL THEATRE LECTURE NOTES.
If we as performers were to group physical theatre as one specific unit this would not be a true reflection of the genre. Physical Theatre is many things. As said before, this style of theatre is not dance however traditional theatre either, it is a combination of both mediums including avant-Garde theatre. This I believe is what Ana Sanchez-Colberg implies by the ‘Hybrid Character’ (Sanchez-Colberg in Keefe & Murray; 2007, p 21) of physical theatre. Colberg’s analysis of this unique genre is a perfect example that physical theatre does not rest alone. Physicality, mime, Avant-Garde theatre and spoken language are all elements of physical theatre which join together to create this truly innovative approach; a approach which is continually ‘breaking down the barriers between dance and theatre’ and is ‘taking risks both aesthetically and physically’. (Keefe and Murray;2007,p20) Steven Berkoff is a huge iconic figure in physical theatre and more importantly has created his own genre of physical theatre called ‘total theatre’ which employs a heightened state of physicality which Aleks Sierz views as ‘in yer face’(www.stevenberkoff.com). Physical theatre encourages performers to engage in their own personal interpretive skills and invites participants to investigate the ways in which performance is made. This is a teaching style used by Jacques Lecoq who’s main interest was centred around mime (an integral part of physical theatre) and he also engages with his interest of actors finding their own personal journey through dramatic content. Physical Theatre allows performers to develop a continuing communication between audience and performer. It permits audience members to pay witness to all of the different features physical theatre has to offer. Physicality, mime, naturalistic, stylised and pedestrian movements all join together to create something which audience members can interpret as they wish, which will enable them to gain a great deal of understanding from the performance. I personally believe that physical theatre is a hybrid theatre genre. There are many elements within this form of theatre that bind together to create a what we know as physical theatre. It stands alone as one genre but the individual fragments are important to making it such fluid, free and ultimately collaborative style.
As Physical Theatre steadily becomes a recognised and expanding theatre form, a large amount of companies are creating inspirational and pioneering work. One company I feel are a true reflection of what physical theatre is are ‘Void Physical Theatre’. The company established themselves in 2007 and have grown from strength to strength. The primary focus of the company is the representation of everyday life. The company does not have a moral behind their work, they merely look at the society around them, the ‘movement’ of everyday life and the happenings of all that’s normal and interpret it to suit their companies strengths. The company originated and are based in Wolverhampton and is the first professional physical theatre company in the Midlands. The company are respected by many other physical theatre companies throughout the region and has impressed those who have witnessed their work by ‘exploring the boundaries of communication’ and the company continually ‘produces work that unifies contemporary dance and drama’. (www.voidphysicaltheatre.co.uk) The work of this company falls directly into the physical theatre genre as they explore issued raised in a stylised form ‘exploiting the body to express intense narrative with an aim to mutate pedestrian movement to present an abstract view of society’ (www.voidphysicaltheatre.co.uk). Past productions of this company include Room to Breathe which provides the audience with a vivid portrayal of sexuality and the journey one goes on to find themselves. Void physical theatre does not hesitate in pushing the boundaries which traditional theatre has set in place and I believe that this is one of the main factors that cement this theatre company in the physical theatre genre.
Bibliography:
- Keefe, J & S Murray (2007) Physical Theatres: A Critical Reader London: Routledge
- Neelands, J (2001) Theatre Directions: Hodder and Stoughton
- Callery, D (2001) Through the Body: A practical Guide to Physical Theatre: Nick Hern Books LTD.
Other Sources:
www.voidphysicaltheatre.co.uk
www.stevenberkoff.com
https://wolf.wlv.ac.uk/spal/38840/Process%20%26%20Performance%20-%20Devising%20for%20Physical%20Theatre.ppt?menu=330275 (PROCESS AND PERFORMANCE DEVISING FOR PHYSICAL THEATRE LECTURE NOTES.
Tuesday, 2 March 2010
Blog 1, Victoria Power, 0805626.
1. Physical Theatre, in my opinion, is a piece of theatre that does not portray it’s meaning solely through the use of text, the use of physicality is present. Physical theatre does not have to be an extravagant piece of theatre that shows an audience a sequence of fancy jumps and lifts, the use of ‘pedestrian’ movements play a vital part in a physical theatre piece. This style of physical movement can be just as effective, if not more so, than stylised movements. When performing a piece of physical theatre, we have to remember that the audience needs to relate in some way and understand the piece. The use of a pedestrian movement can simplify a sequence enough for an audiences untrained eye, yet still look clever, effective, and portray the meaning of the piece to the spectators, “Our response as spectator and audience will be physical, visceral, psychological and emotional.” (Murray & Keefe, 2007, pg 5) When trying to portray a violent scene, the use of these extravagant movements is not always the best way to portray the meaning and understanding to an audience. Violent and abusive behaviour, as we have all learnt now, does not always start off as we see it portrayed on television and in films. It can happen slowly and intensely, and the use of a stylised move may not portray this accurately. The use of a pedestrian movement however, can portray this better. Naturally, as the intensity of a scene and an emotion build up stylised movements help to build this layer. This use of stylised movements can also include scenes from another strand of physical movement; dance, however it is used as an aid to make our scene appear to be more grotesque, not to flatter it.
2. When thinking about something being a hybrid, I automatically think of a car being powered by both fuel and electric. Ana Sanchez-Colberg’s idea that “The term itself – ‘physical theatre’ – denotes a hybrid character and is testimony to its double legacy in both avant-garde theatre and dance” in my opinion is a valid statement. Physical theatre uses a range of techniques that are both pedestrian movements and stylised movements. The pedestrian movements that we see, is like the fuel in a car, it is something that we have used over and over again, and it have managed to run our ‘theatre car’ just fine. The use of stylised movements however, which link and sometimes rely on a background within the dance world, is the new use of the electric in the car that gives it a spark and becomes a hybrid working with the pedestrian movement. I think that the use of both of these styles of movement, “avant-garde theatre and dance”, fused together has successfully created a new genre which is highly entertaining, expressive, and moving for an audience to witness. In my opinion physical theatre is definitely a hybrid performance genre. Just from watching a piece we can see the fusion of avant-garde theatre and dance creating a new form of theatre.
3. Jasmin Vardimon Company was founded in 1997 in London under the Artistic Director Jasmin Vardimon. She is best known for her ability to produce pieces of theatre which combine physical theatre with “quirky characterisation, innovative technologies, text and dance”. This use of collaboration between many art forms can be seen in productions such as ‘Yesterday’, ‘Justitia’, and ‘Park’ only to name a few. Jasmin Vardimon does not just work within the use of extravagant stylised movements; she “accentuates her work with an acute observation of human behaviour.” She has been successful enough to create her own choreographic style and it be recognised within her career with her company over the past thirteen years. The company tackles many topics throughout a performance and manages to grip an audience to the edge of their seats with a visceral reaction, and in awe of the beauty of the movements and the performers’ unique portrayal of these movements. An example of this would be their latest piece ‘Yesterday’, which has been touring around Europe and Asia for the past year. During ‘Yesterday’, we see a family of a mother, father, and child, living quite happily in a quaint cottage until a fire breaks out. Jasmin Vardimon successfully managed to portray to the audience a mothers numbing grief after her daughter gets caught in this fire, and the effort that the father has to try to pull not only himself together, but his wife also. It is a truly shocking, saddening, yet in some way striking to watch.
Bibliography.
Keefe, J & Murray, S (2007) Physical Theatres: An Introduction London: Routledge
Murray, S and J Keefe (2007) Physical Theatres: A Critical Reader, London: Routledge
http://www.jasminvardimon.com/about.html
2. When thinking about something being a hybrid, I automatically think of a car being powered by both fuel and electric. Ana Sanchez-Colberg’s idea that “The term itself – ‘physical theatre’ – denotes a hybrid character and is testimony to its double legacy in both avant-garde theatre and dance” in my opinion is a valid statement. Physical theatre uses a range of techniques that are both pedestrian movements and stylised movements. The pedestrian movements that we see, is like the fuel in a car, it is something that we have used over and over again, and it have managed to run our ‘theatre car’ just fine. The use of stylised movements however, which link and sometimes rely on a background within the dance world, is the new use of the electric in the car that gives it a spark and becomes a hybrid working with the pedestrian movement. I think that the use of both of these styles of movement, “avant-garde theatre and dance”, fused together has successfully created a new genre which is highly entertaining, expressive, and moving for an audience to witness. In my opinion physical theatre is definitely a hybrid performance genre. Just from watching a piece we can see the fusion of avant-garde theatre and dance creating a new form of theatre.
3. Jasmin Vardimon Company was founded in 1997 in London under the Artistic Director Jasmin Vardimon. She is best known for her ability to produce pieces of theatre which combine physical theatre with “quirky characterisation, innovative technologies, text and dance”. This use of collaboration between many art forms can be seen in productions such as ‘Yesterday’, ‘Justitia’, and ‘Park’ only to name a few. Jasmin Vardimon does not just work within the use of extravagant stylised movements; she “accentuates her work with an acute observation of human behaviour.” She has been successful enough to create her own choreographic style and it be recognised within her career with her company over the past thirteen years. The company tackles many topics throughout a performance and manages to grip an audience to the edge of their seats with a visceral reaction, and in awe of the beauty of the movements and the performers’ unique portrayal of these movements. An example of this would be their latest piece ‘Yesterday’, which has been touring around Europe and Asia for the past year. During ‘Yesterday’, we see a family of a mother, father, and child, living quite happily in a quaint cottage until a fire breaks out. Jasmin Vardimon successfully managed to portray to the audience a mothers numbing grief after her daughter gets caught in this fire, and the effort that the father has to try to pull not only himself together, but his wife also. It is a truly shocking, saddening, yet in some way striking to watch.
Bibliography.
Keefe, J & Murray, S (2007) Physical Theatres: An Introduction London: Routledge
Murray, S and J Keefe (2007) Physical Theatres: A Critical Reader, London: Routledge
http://www.jasminvardimon.com/about.html
Blog 1. Hayley Rockley 0818681
1. One main and most obvious feature of physical theatre is that it is story-telling through physical means. The performer uses his or hers body as a way of narrating the story, they are “the creators of their own work and the potential authors of their own theatre.” (Murray and Keefe, 2007, p.202) It can convey various relationships through how different bodies react to each other. During the process, such activities as experimenting with supporting one another’s weight, catching, lifting and even falling will communicate to the audience a certain relationship between the performers. The performers will also physically express a range of emotions and motives through simple, pedestrian gestures, which the audience will automatically relate to and decode. Physical theatre is not entirely reliant on abstract movements to produce an effective story.
It is often assumed that physical theatre is dance, however it is unlike dance in many ways. When practising dance the body is choreographed in a way that it must look perfect and be aesthetically pleasing to the audience. Whereas in physical theatre the body must look imperfect. This is realised through the use of improvisation to create work. The performer is “starting the work from an improvisational approach rather than an intellectual one. Using imagination as an ‘embodied activity’ rather than a mental one.” (Murray and Keefe, 2007, p.203)
In physical theatre it is stressed that the body is the main feature of communication and story telling, however one should not rule out using dialogue whether naturalistic or naturalistic as there is no rule against it and can enhance the work further and give it more depth.
2. When using the term ‘physical theatre’ one may assume that it is theatre consisting purely of movement and dance. However, as stated in the quote, physical theatre is a “hybrid character” and therefore possesses many different elements from different forms of theatre. It can be so diverse that it is often applied to Mime, Theatrical Clowning, Theatrical Acrobats and Contemporary Dance. Mainly because of the predominantly using the body as a form of communication. It is almost an excuse to find various ways and means in which a performer can tell a story, without using the techniques of traditional theatre such as scripted dialogue and naturalistic acting. The production will still include an equally effective story, but told in a more diverse and intricate manner.
A performer may become a prop, for example a chair or table, that the other performers can utilise or they may mime using a prop with precision.
Performers will support each others weight, throwing, catching or lifting them, which may be perceived as dance. However physical theatre can use elements of dance and perform these movements with precision and grace or can purposefully make their bodies abstract to highlight a significant difference. This can be performed to music, to sound effects or simply just silence depending on what the performer would like to convey.
Physical theatre “implies bodies in image, and the ‘theatre’ between them - which, again, includes the spoken word, language, text, as one of its fundamental components” (Murray and Keefe, 2007, p.113), therefore dialogue between performers is encouraged and does not just rely on movement to tell a story.
3. The British performance company DV8 specialise in physical theatre and was created by its founders simply because they were frustrated and disillusioned with the direction of most dance forms, stating that “dance is not about anything. DV8 is about something.”
. DV8 uses their performances to break down the barriers between dance, theatre, personal politics and the way in which one can communicate ideas. This meant that they were giving ‘dance’ and the movements a meaning which ultimately changes the way they are performed. DV8 also use set designs and live composers to bridge the gap between dance and theatre.
Masks are used in their productions, often that if clowns which draws upon elements or Commedia del’Arte. Some productions or not performed in a theatre but in a realistic location such as a pier or bar.
There are often duets of physical movement using lifts and falls, a good example of this would be in their production Strange Fish in which strong relationships are developed and communicated. Also naturalistic dialogue is used which can make the scene seem naturalistic itself at first, however the performers will then start incorporating movement and the different elements of physical theatre.
DV8 is a significant example of how physical theatre is ‘hybrid’ and how in physical theatre there really are no rules as to what can or cannot be used.
Bibliography
Dennis, A (2002) The Articulate Body: The Physical Training of the Actor London: Nick Hern.
Keefe, J & S, Murray (2007) Physical Theatres: A Critical Reader London: Routledge.
Carlson, M (2004) Performance: a critical introduction London: Routledge.
Other Sources
www.dv8.co.uk/about_dv8/interview_article_19_lloyd_newson_and_dv8 [accessed 2nd March 2010]
www.artsadmin.co.uk/projects/artist [accessed 2nd March 2010]
It is often assumed that physical theatre is dance, however it is unlike dance in many ways. When practising dance the body is choreographed in a way that it must look perfect and be aesthetically pleasing to the audience. Whereas in physical theatre the body must look imperfect. This is realised through the use of improvisation to create work. The performer is “starting the work from an improvisational approach rather than an intellectual one. Using imagination as an ‘embodied activity’ rather than a mental one.” (Murray and Keefe, 2007, p.203)
In physical theatre it is stressed that the body is the main feature of communication and story telling, however one should not rule out using dialogue whether naturalistic or naturalistic as there is no rule against it and can enhance the work further and give it more depth.
2. When using the term ‘physical theatre’ one may assume that it is theatre consisting purely of movement and dance. However, as stated in the quote, physical theatre is a “hybrid character” and therefore possesses many different elements from different forms of theatre. It can be so diverse that it is often applied to Mime, Theatrical Clowning, Theatrical Acrobats and Contemporary Dance. Mainly because of the predominantly using the body as a form of communication. It is almost an excuse to find various ways and means in which a performer can tell a story, without using the techniques of traditional theatre such as scripted dialogue and naturalistic acting. The production will still include an equally effective story, but told in a more diverse and intricate manner.
A performer may become a prop, for example a chair or table, that the other performers can utilise or they may mime using a prop with precision.
Performers will support each others weight, throwing, catching or lifting them, which may be perceived as dance. However physical theatre can use elements of dance and perform these movements with precision and grace or can purposefully make their bodies abstract to highlight a significant difference. This can be performed to music, to sound effects or simply just silence depending on what the performer would like to convey.
Physical theatre “implies bodies in image, and the ‘theatre’ between them - which, again, includes the spoken word, language, text, as one of its fundamental components” (Murray and Keefe, 2007, p.113), therefore dialogue between performers is encouraged and does not just rely on movement to tell a story.
3. The British performance company DV8 specialise in physical theatre and was created by its founders simply because they were frustrated and disillusioned with the direction of most dance forms, stating that “dance is not about anything. DV8 is about something.”
. DV8 uses their performances to break down the barriers between dance, theatre, personal politics and the way in which one can communicate ideas. This meant that they were giving ‘dance’ and the movements a meaning which ultimately changes the way they are performed. DV8 also use set designs and live composers to bridge the gap between dance and theatre.
Masks are used in their productions, often that if clowns which draws upon elements or Commedia del’Arte. Some productions or not performed in a theatre but in a realistic location such as a pier or bar.
There are often duets of physical movement using lifts and falls, a good example of this would be in their production Strange Fish in which strong relationships are developed and communicated. Also naturalistic dialogue is used which can make the scene seem naturalistic itself at first, however the performers will then start incorporating movement and the different elements of physical theatre.
DV8 is a significant example of how physical theatre is ‘hybrid’ and how in physical theatre there really are no rules as to what can or cannot be used.
Bibliography
Dennis, A (2002) The Articulate Body: The Physical Training of the Actor London: Nick Hern.
Keefe, J & S, Murray (2007) Physical Theatres: A Critical Reader London: Routledge.
Carlson, M (2004) Performance: a critical introduction London: Routledge.
Other Sources
www.dv8.co.uk/about_dv8/interview_article_19_lloyd_newson_and_dv8 [accessed 2nd March 2010]
www.artsadmin.co.uk/projects/artist [accessed 2nd March 2010]
Monday, 1 March 2010
Assessment1 : Lauren Walker 0803093
Lauren Walker 0803093
One of the key features of the physical theatre genre is the focus on the body instead of a text based stimulus. The actor focuses on how the body moves, allowing for a more free-flowing development of work and the term ‘physical’ indicates that this type of theatre isn’t a style which is generally seen in theatre by traditional theatre audiences. Physical theatre is also controversially mistaken for dance theatre which only focuses on stylised and planned movement and doesn’t look at other elements such as character and meaning. Dennis (2007) states “The design created by movement has both a narrative and aesthetic value” (Murray& Keefe, 2007, p185) although physical theatre has influences of dance within it, there is a deeper meaning to the more pedestrianised gestures used in the genre. Although this sometimes does not look aesthetically pleasing to an audience as much as dance does, there becomes a deeper meaning in which the audience can decode. Another feature is the allowing of the performers to experiment and ‘play,’ this is the basis from where the work is developed and moves into the final stages of performance that we see as an audience member. From being a part of the Process and Performance module, I have learnt that physical theatres creation of work relies solely on trying things out and throwing away work that doesn’t fit into the final product, this is an important aspect of physical theatre or there would become too much material for a performance but all the time we are adding to our ‘palette’ to develop and expand what material we have already created.
“The term itself – ‘physical theatre’ – denotes a hybrid character and is testimony to its double legacy in both avant-garde theatre and dance. It is precisely this double current of influences which needs to be taken into consideration in any attempt to delineate specific parameters of the new genre.” (Sanchez-Colberg in Keefe & Murray; 2007, p 21)
Ana Sanchez-Colberg describes physical theatre as a ‘hybrid character’ as physical theatre fuses together not only elements of dance but also elements of Avant-garde theatre and small elements of other genres such as mime that have elements of movement and physicalisation which were theorised by practitioners such as Jacques Lecoq. The collaboration of different styles of theatre performance makes up physical theatre. An example of the difference between dance theatre and physical theatre is that dance theatre relies on music as the music is first chosen and the choreography is created to the beats of the music where as physical theatre just adds a layer of music to the performance as an aesthetic element. The devising through experimental play in the process allows for a more varied style of work and unlike dance theatre which sees a neutral performance, physical theatre allows characters to be developed and the actor goes through the journey of the process instead of being told how to act by a director or through character directions in as script, which is the difference between physical theatre and more contemporary Avant-garde theatre.
A contemporary British performance company who falls into the category of ‘physical theatre’ is Jasmin Vardimon Company. The company’s work can fall into the genre of ‘Hybrid’ as they not only use aspects of stylised dance movement, but they take this one step further to push their bodies to the limit by experimenting and devising. The company is well known for the exploration of “human experience, social relevance” (www.jasminvardimon.com/about.html) as a starting point for the actors to focus on, from there the actors are given the freedom to explore and devise work but all the time having a motivation behind every movement which is what traditional dance theatre lacks. This element of physical theatre therefore provokes and challenges the audience to question what they are watching instead of there just being an aesthetically pleasing performance in front of them.
“Park delivers fresh statements about our time, treating us to Vardimon’s insightful humour and beautifully detailed movement. Park is a breathtaking collision of highly acute physical theatre, text, athletic dance and funky music”. (www.jasminvardimon.com/park.)
This quote from Jasmin Vardimon website confirms that the work of the company looks at social relevance for the audience and combines this with elements of text, dance and layers of music to create an exciting performance of physical theatre for the audience to watch, yet is different to contemporary Avant-garde theatre. Talking about Jasmin Vardimons performance of Yesterday, Georgina Coburn (2008) states that the work is “More performance art than choreography,” (www.jasminvardimon.com/reviews/yesterday.html)as this particular performance also uses digital images to aid their work. I think ‘performance art’ is a perfect example to describe the mix of dance theatre and physical theatre so that its hybrid character is more distinguished.
Bibliography
DENNIS, A (2002) The articulate body: the physical training of the actor London: Nick Hern
GROTOWSKI, J. (1975) Towards a poor theatre London : Methuen.
MARSHALL, L (2001) The body speaks London: Methuen.
MURRAY, S & J KEEFE (2007) Physical theatres: a critical introduction London: Routledge
KEEFE, J & S MURRAY (Ed) (2007) Physical theatres: a critical reader London: Routledge
ZARRILLI, P (2002) Acting Re(Considered) London: Routledge
Other Sources
http://www.jasminvardimon.com/about.html (accessed 1st March 2010)
http://www.jasminvardimon.com/park.html (accessed 1st March 2010)
Coburn, G. Review from www.hi-arts.co.uk/31 October 2008. http://www.jasminvardimon.com/reviews/yesterday.html (accessed 1st March 2010)
One of the key features of the physical theatre genre is the focus on the body instead of a text based stimulus. The actor focuses on how the body moves, allowing for a more free-flowing development of work and the term ‘physical’ indicates that this type of theatre isn’t a style which is generally seen in theatre by traditional theatre audiences. Physical theatre is also controversially mistaken for dance theatre which only focuses on stylised and planned movement and doesn’t look at other elements such as character and meaning. Dennis (2007) states “The design created by movement has both a narrative and aesthetic value” (Murray& Keefe, 2007, p185) although physical theatre has influences of dance within it, there is a deeper meaning to the more pedestrianised gestures used in the genre. Although this sometimes does not look aesthetically pleasing to an audience as much as dance does, there becomes a deeper meaning in which the audience can decode. Another feature is the allowing of the performers to experiment and ‘play,’ this is the basis from where the work is developed and moves into the final stages of performance that we see as an audience member. From being a part of the Process and Performance module, I have learnt that physical theatres creation of work relies solely on trying things out and throwing away work that doesn’t fit into the final product, this is an important aspect of physical theatre or there would become too much material for a performance but all the time we are adding to our ‘palette’ to develop and expand what material we have already created.
“The term itself – ‘physical theatre’ – denotes a hybrid character and is testimony to its double legacy in both avant-garde theatre and dance. It is precisely this double current of influences which needs to be taken into consideration in any attempt to delineate specific parameters of the new genre.” (Sanchez-Colberg in Keefe & Murray; 2007, p 21)
Ana Sanchez-Colberg describes physical theatre as a ‘hybrid character’ as physical theatre fuses together not only elements of dance but also elements of Avant-garde theatre and small elements of other genres such as mime that have elements of movement and physicalisation which were theorised by practitioners such as Jacques Lecoq. The collaboration of different styles of theatre performance makes up physical theatre. An example of the difference between dance theatre and physical theatre is that dance theatre relies on music as the music is first chosen and the choreography is created to the beats of the music where as physical theatre just adds a layer of music to the performance as an aesthetic element. The devising through experimental play in the process allows for a more varied style of work and unlike dance theatre which sees a neutral performance, physical theatre allows characters to be developed and the actor goes through the journey of the process instead of being told how to act by a director or through character directions in as script, which is the difference between physical theatre and more contemporary Avant-garde theatre.
A contemporary British performance company who falls into the category of ‘physical theatre’ is Jasmin Vardimon Company. The company’s work can fall into the genre of ‘Hybrid’ as they not only use aspects of stylised dance movement, but they take this one step further to push their bodies to the limit by experimenting and devising. The company is well known for the exploration of “human experience, social relevance” (www.jasminvardimon.com/about.html) as a starting point for the actors to focus on, from there the actors are given the freedom to explore and devise work but all the time having a motivation behind every movement which is what traditional dance theatre lacks. This element of physical theatre therefore provokes and challenges the audience to question what they are watching instead of there just being an aesthetically pleasing performance in front of them.
“Park delivers fresh statements about our time, treating us to Vardimon’s insightful humour and beautifully detailed movement. Park is a breathtaking collision of highly acute physical theatre, text, athletic dance and funky music”. (www.jasminvardimon.com/park.)
This quote from Jasmin Vardimon website confirms that the work of the company looks at social relevance for the audience and combines this with elements of text, dance and layers of music to create an exciting performance of physical theatre for the audience to watch, yet is different to contemporary Avant-garde theatre. Talking about Jasmin Vardimons performance of Yesterday, Georgina Coburn (2008) states that the work is “More performance art than choreography,” (www.jasminvardimon.com/reviews/yesterday.html)as this particular performance also uses digital images to aid their work. I think ‘performance art’ is a perfect example to describe the mix of dance theatre and physical theatre so that its hybrid character is more distinguished.
Bibliography
DENNIS, A (2002) The articulate body: the physical training of the actor London: Nick Hern
GROTOWSKI, J. (1975) Towards a poor theatre London : Methuen.
MARSHALL, L (2001) The body speaks London: Methuen.
MURRAY, S & J KEEFE (2007) Physical theatres: a critical introduction London: Routledge
KEEFE, J & S MURRAY (Ed) (2007) Physical theatres: a critical reader London: Routledge
ZARRILLI, P (2002) Acting Re(Considered) London: Routledge
Other Sources
http://www.jasminvardimon.com/about.html (accessed 1st March 2010)
http://www.jasminvardimon.com/park.html (accessed 1st March 2010)
Coburn, G. Review from www.hi-arts.co.uk/31 October 2008. http://www.jasminvardimon.com/reviews/yesterday.html (accessed 1st March 2010)
Blog 1. Huma sarwat.
Huma Sarwat.
With in the module content of Process and Performance the genre of ‘Physical Theatre’ has been explored. ‘Physical Theatre’ is represented in a performance by using the body as a medium. Movement is much choreographed and character driven. Physical theatre most likely portrays personal and political statements.
‘The term itself-‘physical theatre’-donates 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.
As well as the words of Sanchez-Colberg, process and performance allows the individual to understand the concept that physical theatre is a hybrid of theatre and dance; it is not dance nor theatre but a concept which allows both these factors to meet. Lloyd Newson, the founder of the physical theatre company DV8, also states that; ‘for alot of people who go and see dance, dance is not about anything. DV8 is about something’. Newson explains that physical theatre is not dance but a collaboration of movements which tell a story or challenge a whole range of social and psychological situations.
The module as a whole explores physical theatre in depth enabling students to discover different features of physical theatre. Students learn how and understand that most work is choreographic and technique based.
The module content of ‘Process and Performance’ has allowed work to be created as a balance between pedestrian gestures and choreographed style technique which has proved that physical theatre is not just masses of complex lifts and throws attempted by performers. Overall the module has explored ‘Physical Theatre’ as an art form that includes elements of character, narrative, audience and performer relationships and also relationship between the performers.
Ana Sanchez-Colberg states that physical theatre donates a ‘hybrid character’. By saying this Sanchez could be implying many things, for instance, physical theatre is neither dance nor theatre but is a term which allows all these factors to come together.
She could also be implying that physical theatre is a whole new type/style of theatre which has been formed through the means of other different styles and concept. On the other hand Sanchez could be implying that although this type of theatre contains elements from other art forms it is a stand alone style.
‘At the same time the heterogeneous diversity of forms unhinges all thoseMethodological certainties that have previously made it possible to assert large-scaleCausal developments in the arts. It is essential to accept the co-existence of divergenttheatre forms and concepts in which no paradigm is dominant’. (Simon Murray, 2007, 13). Simon Murray also describes why physical theatre is a hybrid form of art, he explains that this hybrid form is needed in today’s theatre as it allows diversity and is a development in the arts.
In my opinion physical theatre could be seen as a hybrid performance genre as it uses elements of other theatre styles. It contains a mixture of naturalistic and stylised content; also it contains elements of drama, dance, music, narrative and physical form. Although seen as a hybrid form of theatre it is still an individual genre which allows many other genres to collaborate.
There are many contemporary British performance companies which fit into the remit of physical theatre. Companies well known for there physical theatre productions are ‘Pina Bausch’, ‘Void theatre company ’,‘ DV8 physical theatre ’and‘ Jasmin Vardimon Company’. All companies are very well known for their past and up coming productions however it was the ‘DV8 physical theatre company’ which was first to take the ‘Physical Theatre’ name. Founded by Lloyd Newson in 1986 this theatre company challenged the status quo and broke many boundaries as it explored taboo subjects through physical gestures/movement and contact improvisation. Newson, who trained in ballet and studied psychology for his degree, combined both his interests to form a theatre company which explore the human mind and behaviour through using the body as a means of communication.
Newson wanted to make ‘Dance about something’ by exploring subjects such as; sexual politics, gender stereotypes, social and political issues. Newson was strongly influenced by the theatricality of Pina Bausch making his choreographic process include devising pieces with the collaboration of dancers and designers.
Physical theatre is neither dance nor drama but a form which allows different genres to come together; DV8 are a theatre company which highlight this. Newson states what he thinks dance is like compared to physical theatre, he tries to express what the aim and style of physical theatre actually is; ‘It's a bit like a beauty contest; in fact we have a beauty contest [in the show] or a physical contest. Underneath all the smiles and attractive bodies on front covers of magazines we want to know what else is going on; who has had the tucks, who is hiding their faults’.
It can be argued that DV8 deserves the title of physical theatre as all its concepts fit in with the requirements of the physical theatre genre.
Bibliography;
Sanchez- Colberg in Keefe & Murray; 2007, p 21.
http://www.dv8.co.uk/about_dv8/interview_article_19_lloyd_newson_and_dv8.
With in the module content of Process and Performance the genre of ‘Physical Theatre’ has been explored. ‘Physical Theatre’ is represented in a performance by using the body as a medium. Movement is much choreographed and character driven. Physical theatre most likely portrays personal and political statements.
‘The term itself-‘physical theatre’-donates 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.
As well as the words of Sanchez-Colberg, process and performance allows the individual to understand the concept that physical theatre is a hybrid of theatre and dance; it is not dance nor theatre but a concept which allows both these factors to meet. Lloyd Newson, the founder of the physical theatre company DV8, also states that; ‘for alot of people who go and see dance, dance is not about anything. DV8 is about something’. Newson explains that physical theatre is not dance but a collaboration of movements which tell a story or challenge a whole range of social and psychological situations.
The module as a whole explores physical theatre in depth enabling students to discover different features of physical theatre. Students learn how and understand that most work is choreographic and technique based.
The module content of ‘Process and Performance’ has allowed work to be created as a balance between pedestrian gestures and choreographed style technique which has proved that physical theatre is not just masses of complex lifts and throws attempted by performers. Overall the module has explored ‘Physical Theatre’ as an art form that includes elements of character, narrative, audience and performer relationships and also relationship between the performers.
Ana Sanchez-Colberg states that physical theatre donates a ‘hybrid character’. By saying this Sanchez could be implying many things, for instance, physical theatre is neither dance nor theatre but is a term which allows all these factors to come together.
She could also be implying that physical theatre is a whole new type/style of theatre which has been formed through the means of other different styles and concept. On the other hand Sanchez could be implying that although this type of theatre contains elements from other art forms it is a stand alone style.
‘At the same time the heterogeneous diversity of forms unhinges all thoseMethodological certainties that have previously made it possible to assert large-scaleCausal developments in the arts. It is essential to accept the co-existence of divergenttheatre forms and concepts in which no paradigm is dominant’. (Simon Murray, 2007, 13). Simon Murray also describes why physical theatre is a hybrid form of art, he explains that this hybrid form is needed in today’s theatre as it allows diversity and is a development in the arts.
In my opinion physical theatre could be seen as a hybrid performance genre as it uses elements of other theatre styles. It contains a mixture of naturalistic and stylised content; also it contains elements of drama, dance, music, narrative and physical form. Although seen as a hybrid form of theatre it is still an individual genre which allows many other genres to collaborate.
There are many contemporary British performance companies which fit into the remit of physical theatre. Companies well known for there physical theatre productions are ‘Pina Bausch’, ‘Void theatre company ’,‘ DV8 physical theatre ’and‘ Jasmin Vardimon Company’. All companies are very well known for their past and up coming productions however it was the ‘DV8 physical theatre company’ which was first to take the ‘Physical Theatre’ name. Founded by Lloyd Newson in 1986 this theatre company challenged the status quo and broke many boundaries as it explored taboo subjects through physical gestures/movement and contact improvisation. Newson, who trained in ballet and studied psychology for his degree, combined both his interests to form a theatre company which explore the human mind and behaviour through using the body as a means of communication.
Newson wanted to make ‘Dance about something’ by exploring subjects such as; sexual politics, gender stereotypes, social and political issues. Newson was strongly influenced by the theatricality of Pina Bausch making his choreographic process include devising pieces with the collaboration of dancers and designers.
Physical theatre is neither dance nor drama but a form which allows different genres to come together; DV8 are a theatre company which highlight this. Newson states what he thinks dance is like compared to physical theatre, he tries to express what the aim and style of physical theatre actually is; ‘It's a bit like a beauty contest; in fact we have a beauty contest [in the show] or a physical contest. Underneath all the smiles and attractive bodies on front covers of magazines we want to know what else is going on; who has had the tucks, who is hiding their faults’.
It can be argued that DV8 deserves the title of physical theatre as all its concepts fit in with the requirements of the physical theatre genre.
Bibliography;
Sanchez- Colberg in Keefe & Murray; 2007, p 21.
http://www.dv8.co.uk/about_dv8/interview_article_19_lloyd_newson_and_dv8.