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.
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