Through the process of Process and Performance many key features of the genre “physical theatre” have been discovered and explored. Process and performance has allowed us to focus on creating material from either a stimulus or a feeling with the possibility of later adding an intention; As opposed to a written script like conventional theatre. “Physical theatre” allows the performers to collectively accumulate ideas and be involved in the performance making, as well as the direction the piece will go in, where as in other types of theatre this would be the decision of a director or a text. “Physical theatre, theatre objects, visual theatre and maybe the one thing they have in common is they don’t rely upon the word.” (Keefe, J and s Murray ;2007,9 ) There has been a lot of freedom in Process and Performance in relation to physically creating of the narratives and themes of the piece. A key feature of “Physical theatre” is to engage the whole body and to connect with others as well as the audience. This involves enhancing peripheral vision and the awareness of everyone around you. Through Process and Performance this feature has been explored and as performers we “‘hear’ subtle reactions and become of half formed urges in your body” (Marshall,L; 2001,53) and can act upon them to create new material. “Physical theatre” relates not only to the body but to the emotions of everyone involved in the performance or watching the piece. Using the intention to create movements is a key feature of “physical theatre” and even the slightest and simplest move will have emotion running it, whether it is basic or intense. “Worry less about the strength of the emotion and instead focus your attention of finding a physical ‘handle’ that can release the emotion” (Marshall, L ;2001,53)
Ana Sanchez-Colberg implies by the term “hybrid character” that physical theatre is the offspring of dance and theatre, taking components from both to result in a new entity which is physical theatre. There appears to be truth in this statement if an analysis is to be taken at a visual level. Physical theatre can appear to be “dance theatre” but when observed more closely there are many differences in physical theatre in comparison to a style being created from merely theatre and dance. Physical theatre allows the performers to focus on the emotions to drive the movement which allows audience members to see differences between each performer as their intentions will not always be the same as one another. “What matters is the emotion is real” (Marsall,L;2001,53) There is much less focus of perfection in physical theatre unlike dance, where perfection and ease is strived for in most cases. Where as in physical theatre the demand on the body is expressed and perfection is not the aim of the performance. There is also a difference in the content and storylines of physical theatre. The subject matters are often socially sensitive issues or intense emotions which many conventional plays and dance pieces do not touch upon. There is a sense of a “fearless” approach to material and the physicalisation of moments in physical theatre, as well as a playful nature, which gives the performers a freedom during the creation and performance.
“Vincent Dance Theatre” although their name suggests they are dance group, they appear to fall into the “Physical Theatre” genre as they display many key features involved in the style. Although they call themselves a dance theatre company, they are much more receptive to the idea of semiotics through verbal signs and the use of linguistics than actual movement evoking emotion. Which may not seem typical of “physical theatre,” but they use selective texts or phrases to reiterate a theme or emphasis a point; this is a key feature of the “physical theatre” genre. Vincent Dance Theatre performances have imperfections and are also subject to change due to the intensity of an emotion at a said moment, which is a common feature of “physical theatre” whereas dance tends to focus on structure and perfection. They are experimental in movements, “ these performers launch themselves from each others necks and knees and cradled palms without gauging flesh” (http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/vincent-dance-theatre-the-place-london-brrambert-dance-co-new-victoria-theatre-woking-593701.html) and they have a “lack of fear” in the process of devising and performance. The risks that they take make them a “physical theatre” company. But this style of risks and experimentation runs through their themes, construction and subject matters also; from war (Drop Dead Gorgeous) to love (Broken Chords.) They are constructed through non linear narratives, movement and fragmented text or dialogue which allows them to enter the “physical theatre” genre.
Bibliography:
Anderson,J. (1997) Art Without Boundaries London: Dance Books.
Callery,D (2002) Through the Body London: Routledge
Keefe, J & S Murray (2007) Physical Theatres: A Critical Reader London: Routledge.
Marshall,L (2001) The Body Speaks London:Methuen
www.theindependant.co.uk
http://www.vincentdt.com/
Vincent Dance Theatre: On the House DVD
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