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
Tuesday, 2 March 2010
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]
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]
Wednesday, 17 February 2010
Assessment Task 1
Deadline: Wednesday, 3rd March 2010, 5 pm
Word Count: 750 words total (250 + 250 + 250)
Task:
There are three inter-related questions you need to answer as part of this task.
All the questions relate to the quote below which is taken from the book chapter identified below and is available as an e-book on OPAC.
Read the quote below and then answer each of the three questions within the word limit stipulated against each.
Conduct wider independent reading and use new quotes and examples to support your views.
Present your writing in academic language with Harvard Referencing and a Bibliography at the end of your post.
Quote:
“The term itself – ‘physical theatre’ – denotes a hybrid character and is testimony to its double legacy in both avant-garde theatre and dance. It is precisely this double current of influences which needs to be taken into consideration in any attempt to delineate specific parameters of the new genre.” (Sanchez-Colberg in Keefe & Murray; 2007, p 21)
Ana Sanchez-Colberg
from
Keefe, J & S Murray (2007) Physical Theatres: A Critical Reader London: Routledge
(this is available as an e-book on OPAC)
Questions:
1. Discuss the key features of the genre of ‘physical theatre’ as explored in the module content of Process and Performance. (250 words)
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)
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)
If you have any questions please contact me directly and in good time for the deadline. Looking forward to reading your answers on your own blogs.
Royona
Word Count: 750 words total (250 + 250 + 250)
Task:
There are three inter-related questions you need to answer as part of this task.
All the questions relate to the quote below which is taken from the book chapter identified below and is available as an e-book on OPAC.
Read the quote below and then answer each of the three questions within the word limit stipulated against each.
Conduct wider independent reading and use new quotes and examples to support your views.
Present your writing in academic language with Harvard Referencing and a Bibliography at the end of your post.
Quote:
“The term itself – ‘physical theatre’ – denotes a hybrid character and is testimony to its double legacy in both avant-garde theatre and dance. It is precisely this double current of influences which needs to be taken into consideration in any attempt to delineate specific parameters of the new genre.” (Sanchez-Colberg in Keefe & Murray; 2007, p 21)
Ana Sanchez-Colberg
from
Keefe, J & S Murray (2007) Physical Theatres: A Critical Reader London: Routledge
(this is available as an e-book on OPAC)
Questions:
1. Discuss the key features of the genre of ‘physical theatre’ as explored in the module content of Process and Performance. (250 words)
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)
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)
If you have any questions please contact me directly and in good time for the deadline. Looking forward to reading your answers on your own blogs.
Royona
Wednesday, 10 February 2010
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