blogg assessment 1- charmaine chambers 0920286

Process and performance as a module is an exploration of the physical theatre genre. The module is understood through its physical direction and teaching. Aspects such as body - memory, physical techniques, play, awareness, contact improvisation and sexuality became the starting point to the creative process of the module.

As a genre, physical theatre uses the body as a medium to communicate; it differs from the mainstream of theatre because it doesn’t rely on the process of words to convey emotion or social challenges. Body memory is a feature unfamiliar to most; it is an aspect which solely relies on the bodies’ awareness as apposed to the mind. As Lecoq said the “body knows things about which the mind is ignorant”(Callery,2001,p.4)

The importance of conditioning the body to its upmost physicality is a predominate element; it is the body that is used for the means of communication therefore the body should reach those boundaries to create a story. It is fair to say that the majority of people over think situations, processes and underestimate their physical ability; this thinking acts as a barrier for the body and the self consciousness which intern prevents any creation to succumb. “you must explore every possibility- in fact there is no such thing as the impossible: this only exists in our minds- it does not exist in the movement.” (Lecoq,2000, p.13) . Physical theatre is a genre connected with the breaking of conventions, it strips away the taboos of sexuality and exposes the stage with bodies that represent equality with no gender hierarchy, physical theatre also relies on the trust of ones self and the trust of others, contact is needed in this genre in order to create physical expressions, movements and performances, contact improvisation allows the senses and the whole body to speak without any actual text, it is aspects like these which triumph the differences of this genre in comparison to the mainstream.


Physical theatre is a hybrid character, this hybrid character becomes the term for physical theatre as stated by Ana Sanchez- Colberg, this term implies the different aspects that physical theatre has been created from but also the aspects that have been a result of physical theatre such as contemporary dance.
Physical theatre was morphed from dance and drama to create a change, this physicality derived from eastern cultures; expressed through rituals and then embraced by western practitioners. Physical theatre came at a time of historical change and also a social change where we see westernised theatre allow an “unofficial” style of performance in its theatres.

Although physical theatre is not seen as mainstream and is still difficult to define it was developed from the needs of dance; to constrict the restrictions of ballet and to define a style/genre that reflected more than beauty. The hybrid character could be so difficult to define because of the desperation to eradicate the once confined definitions that were present in dance and drama. Hybrid as a definition means to mix, crossbreed and to make a fusion, this definition supports Ana Sanchez- Colberg’s statement the traits of the theatre is working with text, character and emotion and the traits of dance is movement, form and aesthetics, these separated genres have intertwined their recognisable quality’s to form physical theatre that allows the body to be subservient to the voice and text and allows emotion and intention to be embedded in the movements thus conceiving the hybrid character physical theatre.

The jasmin vardimon company emulate the key features of physical theatre. There style is extremely dissaplined and through this they are able to create pieces that include awareness in body, awareness for the space and movement with intention. Physical theatre is about using the whole body to work in unision but it is also important to be able to transfer that personal awareness to every person on stage or in rehearsal. Jazmin vardimon company has performed a vast amount of pieces over the years. There use of stylistic ensamble work and detailed pieces create an understanding for the physical in theatre. As her company was founded in 1997 her style has been able to develop and her original choreographic performances create dimension on the stage. “Vardimon accentuates her work with an acute observation of human behaviour.”




Bibliography.
Callery, D. (2001) through the body. London: Routledge.
Dennis, A (2002) the articulate body. Norfolk: Biddles.
Keefe, J & Murray, S. (2007) physical theatres a critical reader. Oxon: Routledge.
Lecoq,J. (2000) the moving body.2nd ed. London: Methuen.