“There are several quite distinct traditions of performance which all describe themselves using the term "physical theatre", which has led to a lot of confusion as to what the definition of physical theatre actually is.” (Black Fish Arts Academy)
Through our work in the class room combined with the pieces viewed and the research of other companies' approach, it is clear that a vital element of 'physical theatre' is that it is devised narrative movement. The narrative is not equal a story line necessarily, but can be solely portrayal of emotions. Often these devised narrative movements are collectively improvised using an emotional stimulus as focus-point of a group. Using an example from our own process, the 'community street routine' was created by collaboratively responding the emotional stimulus of 'loss' focussing the movements as expressions of guilt, anxiety, blame etc.
Throughout our process the 'play sessions' have proved a vital tool in developing our bodily imagination and our ability to emotionally engage with the work.
“I first went into play [...] and for the first time I discoverd an emotion relating to the moves” (Naomi Chamroo, P&P blog response, 30-09-2009)
The 'play sessions' have also contributed to breaking down our inhibitions and preconceptions about our selves, each other and the work.
By working as a community, collectively devising narrative movement, we embrace the essence of the modern understanding of what 'physical theatre' is. We then have the option to add further layers to this such as music, spoken text, recordings and scenographic features in order to support or add depth to the narrative.
Although 'physical theatre' has proven difficult to define due to its multi-faced nature, many agree that it falls under the category 'hybrid'. It originated in dance, but distinguished itself by gradually adopting increasing amounts of theatrical elements. 'Physical theatre' emerged from a fusion between dance and theatre thus creating a new genre on its own. This is what Ana Sanchez-Colberg refers to when she states that: “‘physical theatre’ – denotes a hybrid character” (Keefe & Murray, 2007, p 21)
However, several 'physical theatre' performers has incorporated many other genres into their performances. This includes mime, acrobatics, stomp which become integrated elements of the pieces.
It seems that the entire range of performance genres can now be picked and plucked to fit a specific need or purpose, and then labelled 'physical theatre'. If it is abstract movement but not dance, if it is acting through non-pedestrian movement, then it will most likely fall under the category of 'physical theatre'. The possibility of working interdisciplinary has expanded the opportunities of expression within performing arts. It started with a need for breaking the old frames, thus creating a new flexible frame of endless possibility.
'Physical theatre' originated as a hybrid genre between dance and theatre but quickly became a concept of merging genres. We cannot avoid that it is narrative movement, but what we add to this is only restricted by our imaginations.
Jasmin Vardimon Company has proved great versatility in their compilation piece 'Yesterday'. Due to it being a summary of previous productions, it does not have a master narrative, as oppose the performance 'Justitia'. Instead it communicates a serious of minor narratives creating a more fragmented audience experience.
The cast consists mainly of dance trained performers, which reflects on the creative process of the company. They often start from a point of choreographed movement, closely related to the working process of dance. What differentiate them from dance companies is the adding of emotional qualities to the choreography, creating intentions and characters as a theatrical depth to the work. Through this process movements becomes actions and communicate narratively to the audience.
During our workshop with members of the company we experienced how adding a quality to a series of movements can express a narrative. When you turn the focus of the performer from choreography to emotional engagement the experience completely changes, thereby affecting the experience of the audience.
The Jasmin Vardimon Company produces interdisciplinary pieces, not only by merging dance and theatre, but by incorporating elements of numerous artistic disciplines and media. Looking at 'Yesterday' we experience elements of film, body art, painting, text, acrobatics and visual arts. By drawing on other disciplines expands their artistic language which they are communicating with. Each 'physical theatre' group has their own signature features and ways of interlinking their skills. The genre of 'physical theatre' can encompass virtually all creative expressions, making it an excellent frame for bringing physical art to new heights.
Keefe, J & S Murray (2007) Physical Theatres: A Critical Reader London: Routledge
Chamroo, N. (2009) [online]
Black Fish Arts Academy [online]
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