1.The origins of Physical theatre in Europe refer back to the beginning of the 20th century, “received ideas of how we see and interpret the visual were suddenly questionable” (Callery, D., 2001. Through The Body: A Practical Guide To Physical Theatre. p.8-9). However, it was firstly distinct as physical theatre in the 80’s when its previous definition responded to “dance-theatre” (Keefe, J & S Murray (2007) Physical Theatres: A Critical Reader p.24). Although is hard to give it a definition du to the constant enrichment of the performances, some key features makes it distinct and unique among the others forms of theatre: firstly it combines two main genres of expression, dance and theatre, where the narrative goes beyond verbal and is delivered through the body movements and visual elements in -as predicted by Antonin Artaud: “a large unadorned space where the audience would be affected on a psychological level by the intensity of the action” (Callery, D., 2001. Through The Body: A Practical Guide To Physical Theatre. p.10). It is complex in its process, where the relationships and interactions between the performers as well as their exploration of life experience play an important role. Furthermore, it implies the commitment of the performers to the product and the message, whether justified by the need of change as in the origins of physical theatre itself or inspired by artistic, social or political issues.
It cost me some amount of time to clear up confusion whether it was dance or theatre when experiencing this form of performing for the first time, as the nature of our sessions included deep warm up and a whole set of techniques that needed to be learnt. With time, progressing in our module, it became clear that physical theatre involves much more in itself than learning mere techniques but the exploration of where those movements and the awareness of each other could lead. A process that will certainly grow into something richer and meaningful. Developing a narrative through body memory, exploring text, music, putting together our interpretations of life experiences with aesthetic sometimes sharp, shocking pedestrian movements, it is the way we are currently exploring “Four Ways to Speak Out” in an attempt to portray a message in domestic violence.
2.The thesaurus dictionary gives the following definition for the term hybrid: (…) mixture, blend, amalgamation, combination, composite, compound, fusion.
Taking the above mentioned and A. Sanchez-Colberg’s reflections of physical theatre’s avant-garde theatre and dance influences, it becomes clear that the very essence of a hybrid physical theatre implies a amalgam of genres and expressions in its inner process, where the verbal narrative takes a subordinated place to portray a message, using a vast range of elements and techniques, rather different from what conventional theatre or dance implies, as D. Callery states: “The somatic impulse is privileged over the cerebral in the making process … whether the product is an original devised piece or an interpretation of a scripted text” (Keefe, J & S Murray (2007) Physical Theatres: A Critical Reader Chap. 2, p.23, p.4)
Furthermore, A. Sanchez Colberg makes allusion to how the visceral and eclectic character of the devising process works as generator of this hybrid nature in physical theatre. In the process, the ideas and material are explored, tested, reassessed, approved, through motion and space, often departing from an idea, a concept, a social issue, or a simple experience, yet with no predetermined shape or literal meaning, where the body language is privileged to the verbal one. “Language is used in a non-referential manner, it no longer carries any meaning nor does it provide the structures to organize world-experience. A direct sign-signifier relationship is broken. Objects characters, scenes and events acquire multiple fluctuating fragmented identity” Keefe, J & S Murray (2007) Physical Theatres: A Critical Reader Chap. 2, p.23)
The hybrid character of Physical theatre is also its own unlimited resource, where the transgressions are not restricted only to dance or theatre, but to all means of artistic expressions. Elements of sound, light, music make indeed the whole product richer in order to excite emotions, whether through aesthetics messages or in a manner that awakes the disbelieve of the spectator. Moreover, when collectively exploring a particular concept or idea, the performer’s contribution to the product is key. D Callery, refers among others to the work of Frantic Assembly who shared the idea that “within every actor lies creative potential which can be accessed through imaginative play” … “Accessing this though provoking imaginative somatic responses of performers in the making process is the aim” (Callery, D., 2001. Through The Body: A Practical Guide To Physical Theatre p. 8)
3.DV8, led by Lloyd Newson created in 1986, is a British Company, which represents a good example of Physical Theatre Company. Through its different works, it has built a consistent reputation developing this genre both in form and content, where the use of image, space and motion are deeply exploited. Firstly known for its dance based productions, it has developed then into a more “hybrid” approached works along with dance and music fusing some different genres of expressions such as media through, text, documentary, film and animated projections and light, as referred on its name: Dance and Video (super 8 mm). The company plays with the word Deviate meaning disturbed, pervert, an idea that it has always aimed at transmitting to the audience in response to changes and tensions in the society most of them related to social, politics, religion, tolerance, intolerance and queer sexuality. As in “Enter Achilles” where he exposed the conflicts that involved being “a man” or in “The cost of living” putting forward the physical handicap often in harmony with a “normal” body, breaking the boundaries of both aesthetically.
DV8 use creative choreographed features but also disturbing pedestrian moments aiming at portraying the reality of the condition of the human being and its relationships in the society, whether straight, homosexual, handicapped. The company puts a particular emphasis on the devising process when creating new work. Experiencing issues “on the ground” of everyday life, is one of its premises, in order to achieve profound research and enrich the new ideas, but also for the performers to better embody the narrative, thus, reaching a wider audience in a deeper dimension. Often qualified as highly political, angry, powerful and emotional, its work is not only reduced to denounce, but also to maintain “rigorous artistic integrity and quality in each new project. The focus of the creative approach is on reinvesting dance with meaning, particularly where this has been lost through formalized techniques.” (www.dv8.co.uk)
Bibliography
1. Keefe, J. & S. Murray (2007) Physical Theatres: A Critical Reader, Oxon: Routledge
Sánchez-Colberg, A., 1996. Altered States And Subliminal Places: Charting The Road Towards A Physical Theatre, s.l., s.n.
2. Callery, D. 2001. Through The Body: A Practical Guide To Physical Theatre, London: Nick Hern Books Limited
3. DV8 physical theatre (2008) [Home page] [online] [February 28, 2010.]
Available at: (http://www.dv8.co.uk/)
Other Sources
1. Physical Theatre http://www.blackfishacademy.com/physical.htm (Accessed: 25.02.2010)
2. http://nycphysicaltheatre.com/definition.aspx
(Accessed: 25.02.2010)
Grecia Charpin, 0916113
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