BLOG ASSESSMENT ONE – Naomi Chamroo 0820502

Question 1
Physical Theatre comprises of a number of key features; stylised movement, choreographed ensemble work i.e. mass movement, layering of movement, emotive performance, music and theatricality, synchronised movement, pedestrian gesture, paired work and solo performance. We have explored all of these in detail at some point within the module, this has enabled us to explore the intricacies of the discipline such as, table work, paired work, eye contact, catches and falls and layering in emotion/intent. Physical Theatre pushes the boundaries in creating character, using the body as emotive medium of communication, often to portray political or moral statements. However ‘Physical Theatre’ is a genre that is still being defined. There are no set boundaries, new and innovative ideas are still emerging and redefining our expectation of the genre, seemingly indefinable.
Physical Theatre is the craft of building theatre through physical actions, characterization and stage composition. Physical Theatre uses as its primary means of expression movement, dynamic immobility, gesture and a variety of acting techniques. Text, music, costumes, and scenery are included in layers selectively. The context in which all of these elements are blended is determined by the message the performers wish to communicate. (http://biomechanics.vtheatre.net/dict.html)(Accessed)(21/2/10)
Contemporary Companies that use the hybrid term often have foundations in contemporary dance, mime, acrobatics and traditional theatre. The genre is defined as inter-disciplinary and demands that they are not only defined as being associated purely with dance, or purely with avant-garde theatre, but a creation of all aspects.

While performances based around all of the above could equally claim to be "Physical Theatre", the key distinguishing factor is a focus on narrative, character and storytelling. However, it is often difficult to draw a distinct boundary between what is and what is not physical theatre, and distinctions are often made quite arbitrarily by critics and performing companies. {} Modern Physical Theatre has grown from a variety of origins. Mime and theatrical clowning schools ...... also has strong roots in more ancient traditions such as Commedia dell'arte and some suggest links to the ancient Greek theatre - particularly the theatre of Aristophanes (http://www.blackfishacademy.com/physical.htm)(Accessed)(21/2/10)

Question 2
... the development of what has loosely termed ‘physical theatre’ has marked one of the most significant trends in dance and theatre since the 1980’s.(Sanchez-Colberg, A in Keefe and Murray, 2007 pg. 21)
Ana Sanchez-Colberg defines the term ‘Physical Theatre’ as a ‘Hybrid Character’, the term is implied looking at the history of the genre we can justify the term. The 1980’s may have been the start of defining the genre, but ‘Physical Theatre’ was being born as early as the beginning of the 20th Century. This period in time saw a rebellion from the world of theatre and dance, theatre desired a less naturalistic, less traditional style and a move to the western world where performer’s style takes a more stylistic and spiritually movement style, and embracing the body and need for more physical movement and less text. Key practitioners who sought this aspiration where Artaud and Grotowski.

If confusion is the sign of the times, I see at the root of this confusion a rupture between things and words, between things and the ideas and signs that are their representation.... (Artaud, 1958: 12 in Keefe and Murray, 2007 pg. 23)
Dance drew the same parallels, the desire to move from restrictive and less traditional forms like ballet which demanded the body beautiful. To less beauty and movement and the desire for individuality, practitioners who pioneered this movement like Pina Bausch who were at the fore front of avant-garde dance movement.
.....she tried to convey she lifted out of any personal context and mostly gave it a sociopolitical meaning. Her choreographic approach was psychological only in as much as it emerged from the depth of her (and her dancers') being. (http://www.bookrags.com/biography/pina-bausch/)(Accessed)(23/2/10)
Thus the term ‘Hybrid Character’, the combining of two new beginnings avant-garde theatre and avant-garde dance, since this beginning we have seen many more styles of theatre moving into the new and exciting genre.


Question 3
DV8 Physical Theatre Company formed in 1986, by Lloyd Newson was the first Company to put Physical Theatre in its title, this was a revolutionary move and many others soon followed suit. Newson’s degree in Psychology and training in Ballet gave him a unique edge to emotional movement, and insightful observation on human behaviour. Pina Bausch was a major influence in Newson’s desire to create emotive and challenging work, her creations where inspiring, breaking through traditional ballet, redefine barriers of the postmodern age, opening the way for a new movement. The key features of the Company are: - Policy to insist on challenging preconceptions of what dance can address (Newson believes, ‘Dance’ – in the title has limiting associations). Questions traditional ballet and contemporary dance, as it is obsessed with beauty and form. DV8’s use of pedestrian gesture, used in stylistic movement, as the semiotics can be easily read with this new form.
I like to think that the physical language we explore, while coming from the individuals I work with, is something everybody knows about. All the movement that we develop is stylised naturalistic movement.. (http://www.dv8.co.uk/about_dv8/interview_article_19_lloyd_newson_and_dv8)(Accessed)(19/2/10(Newson L, 1995)
The pioneers for this genre, DV8 have been at the forefront of new artist creations with their productions encompassing the routes of physical theatre, the genre being embedded into the very heart of the Company, DV8’s artist policy states:-
DV8 Physical Theatre's work is about taking risks, aesthetically and physically, about breaking down the barriers between dance and theatre and, above all, communicating ideas and feelings clearly and unpretentiously.....{} The company's reputation relies on pushing its own boundaries and on the constant re-examination of the roles and relationships of men and women in our society. Its policy insists on the importance of challenging our preconceptions of what dance can, and should, address. (http://www.dv8.co.uk/about_dv8/artistic_policy)(Accessed)(19/2/10)

Bibliography
www.blackfishacademy.com/physical.htm
www.biomechanics.vtheatre.net/dict.html
www.dv8.co.uk
KEEFE, J & S MURRAY (Ed) (2007) Physical theatres: a critical reader London: Routledge
MURRAY, S & J KEEFE (2007) Physical theatres: a critical introduction London: Routledge
Naomi Chamroo 0820502