There are a number of key features which are significant to the genre of physical theatre as explored in the Process and Performance module. One being that the focus of the work is predominantly concerning the performer’s body, and it is used as a tool of communication often veering away from the spoken word. Sánchez-Colberg describes it as; “the unfolding of a narrative through physicalized events and which regulates verbal narrative.” (Sánchez-Colberg, A. 2007: pg21)
In contrast to other styles of theatre, the working process for physical theatre is somewhat different. The work is more collaborative; in Four Ways to Speak Out everyone is equally responsible for creating material and no student has a more superior role than another, such as director or producer. Instead, the performers are adopting the role of the creators rather than just interpreting the given material as is likely in other forms of theatre. Throughout the rehearsal process the ‘clap’ method was introduced to ensure all ideas were considered and that every member of the group had an equal opportunity to contribute to the work.
The sessions also follow a somatic approach, beginning with the body and making decisions through its impulses rather than discussing what to do first. Callery states that “the somatic impulse is privileged over the cerebral in the making process.” (Callery, D. 2002: pg4) The brain is not the primary need and the body is free to improvise and use its body memory as an advantage to progress.
The training sessions in semester one were a key feature to the process and vital for being safe and fully prepared for semester two. These sessions considered learning physical theatre techniques such as lifts and falls, equipping the group with a variety of ‘paints to the palette’. The work was undertaken individually, in pairs and as an ensemble to experience the different ways of working in physical theatre.
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)
According to the Oxford English Dictionary the term ‘hybrid’ means: “…having a mixed character; composed of two diverse elements.” (Oxford University Press, 1989) From this the ‘hybrid character’ of physical theatre is simply the ‘mixed character’ of physical theatre, implying that the work covers both a vast and varied spectrum. Although the elements of physical theatre are indeed diverse, it can consider a number of elements such as dance, mime, theatrical acrobatics and quite simply anything which stimulates movement. Callery explores this speculation further, “Physical theatre is not codifiable. The term is applied to such a diverse range of work that it has become virtually undefinable.” (Callery, D. 2002: pg5) The term physical theatre is not easily defined suggesting that the genre is open to a number of works, therefore meaning it is more likely that the style of theatre is of a hybrid character.
Murray and Keef suggest that physical theatre is linked to other forms of theatre, observing that: “The intertwining and at the same time separating of popular theatre and art theatre and the concomitant intertwining of the ‘official and everyday body’ is exemplified by the hybrid pathways that physical theatres have taken since the nineteenth century.” (Murray, S. and Keefe, J. 2007: pg 53) The use of the word ‘pathways’ also suggests that physical theatre considers a number of aspects, this highlights the appropriateness of the term hybrid to describe the genre.
The hybridity of the genre began with the exploration between avant garde dance and avant garde theatre during the early 20th century. The Western theatre was in a crisis and so they turned to the East for inspiration. Previously, the Western theatre concentrated on text and naturalism, alternatively the Eastern theatres focused more on movement and stylised work. This shows how two completely different forms of theatre have merged together to form the hybrid genre of physical theatre.
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)
Jasmin Vardimon Company formed in 1997 and soon became recognised as a company within the dance-theatre repertoire. Their work is described on the website as a “uniquely theatrical choreographic and directorial style combining physical theatre, quirky characterisation, innovative technologies, text and dance.” (2010)
Their latest performance of Yesterday was a montage of their previous shows of Park, Justitia and Lullaby to celebrate the company’s 10th anniversary. The opening scene was slick and precise. A woman was standing on top of another dancer’s feet which gave her height and authority. It was certain that balance and focus became a key factor to the dancer in this scene. She held out a large fishing rod into the audience which gave an unusual three-dimensional effect. Considering scenography, there were white blinds, attached high from the back of the stage to the front. At first, this communicated a sense of entrapment; however it was not long before two dancers elegantly rolled over from each end of the stage and released these blinds, perhaps suggesting they were releasing the woman that held the rod in the centre of the stage. These blinds had a multi-purposeful use as they also acted as an exit/entrance and as a screen for projection which was frequently used throughout the show.
The company held an intense but exciting workshop during one of our training sessions for the Process and Performance module. In this we experienced what it would be like to work for the company as we worked as part of an ensemble and individually. We were taught an unusual ‘walk’ sequence, which features in Yesterday, that focused on a slow motion walk on the spot with outbursts of abstract movements such as using a drill and eating spaghetti. We then layered this with sound effects and music which gave the piece a more finished look.
Bibliography:
Callery, D. (2002) Through the body. London: Routledge.
Keefe, J. and Murray, S. (2007) Physical Theatres: A Critical Reader. London: Routledge.
Murray, S. and Keefe, J. (2007) Physical Theatres: A Critical Introduction. London: Routledge.
Other Sources:
Lonergan, M. (2008) NYC Physical Theatre [online]. [Cited 25/02/10]
Oxford University Press (1989) Oxford English Dictionary [online]. 2nd ed., [Cited 25/02/10]
Vardimon, J. (2010) Jasmin Vardimon Company [online]. [Cited 28/02/10]
Yesterday. (2010) Theatre Performance. Vardimon, J. Birmingham Rep, Jasmin Vardimon.
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