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
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