Emma Gill -0808614 - Blog Task 1

1. Discuss the key features of the genre of ‘physical theatre’ as explored in the module content of Process and Performance. (250 words)

As in any genre of theatre based performance work, there are key features that define it and differentiate it from other forms. As performers of physical theatre, and actors of the more traditional theatre or dance, we are always trying to portray characters and meaning. However in physical theatre there are many different aspects that we have come to understand and work with, from learning the techniques of falling and catching to play sessions to contact improvisation.

Many people believe that contact improvisation has a strong link with physical theatre; it is the use of ‘Sharing weight, rolling, suspending, falling, passive and active, energy and awareness.’ All these are then added to a pallet of skills a physical theatre performer uses. Although it is not directly imitated, these key aspects are brought through to physical theatre; many contact improvisations are quick and violent, where as performances of physical theatre range in tempo, no matter how hard the performer is working it still looks effortless and seamless.

Although physical theatre is a ‘hybrid’ of different techniques it ‘is mixed with pedestrian movements and body language.’ (1999, Pg. 228) These which an audience can read and relate to, ‘The polysemic complex that embraces body, voice and sceneography.’(2007, Pg. 36)

There is a lot of training not only physically but mentally that takes shape when becoming a physical theatre performer, such as using body memory instead of telling yourself to complete a task or to perform, physical theatre uses a lot of visceral reactions.

2. What does Ana Sanchez-Colberg imply by the ‘hybrid character’ of physical theatre? Is physical theatre a hybrid performance genre? Discuss with reasons for your answer.(250 words) .

By Sanchez –Colberg referring to physical theatre as a ‘hybrid character’ she may be saying that as it is a mix of dance and theatre, it consists of many layers, like that of a character. It is not just what is seen, but it is the understanding of everything from its history to its current effects on the audience.

‘Study…aims to show that the genre defines not only a set of stylistic features of a production which is body based, but rather one which extends discursive practice within the relative and tense relationship between the body/text/theatre.’(2007, p21/22)

Sanchez-Colberg defines that to study physical theatre is not to pigeon hole it into a genre, it is to gather an understanding of how it relates to each individual part of a performance, from using voice, body and space; it is to understand how someone can move across the space, and not why they should do it in a certain why.

I believe that physical theatre is a hybrid performance genre, this is clear to see from when working with a professional company such as the Jasmin Vardimon Company, when taking part in the warm up, we imitated unfamiliar moves from Capoeira, and even during our own warm up sessions we use moves from yoga and pilates.

Although music is used, we do not use it to create emotion or inspiration; it is merely a layer which is added to aesthetically please the audience. It can help however magnify emotion once it has been added as layer over movement or speech a character has previously created.

3. Identify a contemporary British performance company whose practice falls into the remit of ‘physical theatre’ as you have defined in the above two answers. Discuss briefly the key features of their practice that makes them a physical theatre company. ( 250 words)

‘In collaboration with a wide variety of artists, Frantic Assembly….Create new work that places equal emphasis on movement, design, music and text’

Frantic Assembly was set up with its artistic directors neither trained in dance or theatre, and therefore does not conform to the way a ‘straight’ theatre company would work. However when their first piece of work was being created, it was directed by another famous and contemporary physical theatre group, Volcano Company.

As it was formed with its artistic directors both having little idea about the art form, they looked towards other directors and towards DV8 Physical Theatre, and the why in which they work. When looking at the directive approach they noticed that DV8 used music as influence.

‘Using music as a creative tool is a primary and ever-evolving company practice. Other points of reference include film, tv advertising, contemporary art and literature.’

Although many performers and chorographers prefer to have music as just a layer, many use it as inspiration, not only did Frantic Assembly use music in their earlier work they later commissioned their own and collaborated with many contemporary artists. They mainly focused on the medium of music videos as they believed they are ‘overlooked as an art form’. However they took a lot more from the music videos such as how they changed history, it gave them their ethos, and techniques they could use.

With the use of opening their type of performance, they believed they could make ‘work that reflects contemporary culture and attracts new audiences.’ This is what I believe physical theatre should try to accomplish.

Bremser, M (1999) Fifty contemporary Choreographers London : Routledge
http://www.franticassembly.co.uk/p105.html [accessed 27/02/10]
http://www.franticassembly.co.uk/p112.html [accessed 27/02/10]
Keefe, J & S Murray (2007) Physical Theatres: A Critical Reader London: Routledge
Keefe, J & S Murray (2007) Physical Theatres: A Critical Introduction London: Routledge
www.contactimprovsation.co.uk/whatis.htm [accessed 27/02/10]