1).‘Physical theatre’ is an indeterminate performance genre, which explores
communication onstage through the body, as oppose to the conventional verbal
narrative, “[…] physical-theatre is theatre where the primary means of creation occurs through the body rather than through the mind” (Callery, 2001, p.4). It is a
challenging, refreshing and rewarding style of theatre that requires consistent
adherence from actors. Influenced by existing performance traditions, physical
theatre conveys numerous key features- all vital to the process (as explored in the
module ‘process and performance’).
One fundamental attribute of physical theatre is the technique driven approach to working. For actors undergoing physical theatre training, the body (and how we apply it in the space) becomes imperative in terms of proficiency/skill, “Control of the body and somatic interaction are keystones of physical acting” (Callery, 2001, p.4).
However, it is important to remember that aptitude in physical performance is a
gradual achievement. We embark on a physical journey that is essential for the
creative process, constantly learning new performance strategies and adding to our
‘palette’ of skills. This has a direct impact on our mindset, and how we embody an
emotional context within the physical work. Ariane Mnouchkine (Theatre du Soleil)
articulates that: “theatre’s role is to […] represent the extremities of human emotion and sensation through physical […] gesture” (Keefe & Murray, 2007, p.96).
‘Contact improvisation’ is another principal aspect of physical theatre. Therefore it is crucial to overcome any bodily inhibitions. Steve Paxton states “Contact improvisation directly concerns body improvising, co-operation and co-creation” (R.T. Dean & H. Smith, 1997,p.123).
2). The English dictionary defines the term hybrid as ‘anything of mixed origin’.
Ana Sanchez-Colberg’s suggestion that “’physical theatre’- denotes a hybrid character and is testimony to its double legacy in both avant-garde theatre and dance” (Keefe & Murray, 2001, p.21), is an authentic example of how the genre is yet to be officially established. The beginning of the 20th century saw a significant change in the arts. Instead of reflecting reality, theatre aimed to portray absurdism and expressionism. This issued the influence of dance (and other performance traditions) on the theatres evolvement:
"Contemporary physical practices have been shaped by a number of different generic strands. Most notable among these are the influences of early 20th century dance, mime, theatre and circus practices […] traditional structures of movement were redefined […] to create ‘new languages of physical expression’”.
(Normington, 2007, p.158)
In relation to the process and performance module, all of these concepts have been apparent within the physical training. From body memory to contact improvisation and choreographed sequences- ‘physical theatre’ connects every artistic form available, administering the growth of its own unique identity.
Many professional physical theatre companies have been hugely inspired by
contemporary dance congregations. Therefore most physical theatre actors will have
experienced some form of dance training prior to their physical theatre debuts.
However, this is not necessarily essential as the focus lies on the body and how we
exert emotion through physical movements (no need for precision/beauty in
performance). Initially, the body is free to take risks and be explorative.
Lloyd Newson, founder and artistic director of DV8 Physical theatre (1986)
explains “what fascinates me is who the performers are, and the style of the company
will vary depending on the amalgamation of the performers” (Newson in Keefe and
Murray, 2007, p.82). This is a significant explanation of how physical theatre
companies operate, as ensemble work is one of the genres most prominent
features.
3). Jasmin Vardimon theatre company were founded in London (1997) and “rapidly
rose to become a significant element within the British dance theatre scene”
(www.jasminvardimon.com/about.html).
Their work is highly choreographed and employs an emotional context on an
extravagant level. They unnerve audiences by using their bodies to such extremes-
forcing spectators to witness raucous performances, and getting their messages across in a vigorous fashion. “Renowned for her uniquely theatrical choreographic and directorial style combining physical theatre, quirky characterisation […] Vardimon accentuates her work with an acute observation of human behaviour”
(www.jasminvardimon.com/about.html).
Their production ‘Yesterday’ has received praise for its “breath-taking duets,
striking solo’s […] moments of touching beauty […] scenes of intimate and
vulnerable tenderness with provocative and playful choreography, remaining as
stirring and socially relevant as ever” (www.jasminvardimon.com/productions.html).
In terms of the module ‘process and performance’, the concept of physical theatre has been explored in numerous ways. Performers who take part in a physical theatre process will acquire their own opinions and conclusions of the genre. Companies such as JVC are there to inspire and excite theatre enthusiasts, leaving ‘physical theatre’ a mysterious ,adventurous and fascinating art form.
Bibliography:
Callery, D. (2001) Through the Body London: Routledge
Smith, H & Dean, R.T (1997) Improvisation, hypermedia and the arts since 1945
Keefe, J & Murray, S (2007) Physical theatres: An introduction
Keefe, J & Murray, S (2007) Physical theatres: A critical reader
Normington, K (2007) Making a performance: devising histories & contemporary practices.
Websites
http://www.jasminvardimon.com/productions.html
http://www.jasminvardimon.com/about.html
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