Martha Graham - Lamentation

http://www.youtube.com/watch?v=xgf3xgbKYko&feature=PlayList&p=6211D376F37528CC&playnext=1&index=6

This for me is just mesmerising to watch, i love how effective the costume is, as its not accentuating the body in anyway, infact its restricting that, but there's just something about me that keeps me wanting to watch it over and over...hope you enjoy!


Sandy

Blog Assessment: Task 1

1. Physical theatre is not seen as one singular genre but it can be seen as, fusion of dance and drama where it uses the body to act and express itself. The body becomes the central stage in the devising process where the person can create the character and does not interpret any sort of text like in the conventional stages of drama. The text in a physical theatre is what the person creates from the body language, the use of everyday pedestrian movements, facial expressions and bodily contact. It has opened up doors for many subjects such as, sex, gender and politics. ‘Actions speak louder than words’ e.g. If you want people to believe what you are saying than show them, and this is what physical theatre does, the physical movement delivers the story performers are telling through the body. A majority of the work in physical theatre conveys of signs and ‘interacts with the environment and the consequences upon this subject of an external infringement directed at the body and the personal world it serves to ground’ (Sanchez-Colberg in Keefe, Murray; 2007, p 22, Garner, p.48). The body focuses on the needs in progressing on the language of the body, because the language we speak ‘convey the condition of man in the world’; physical work exposes our feelings and gives the work a whole new purpose.

2. Hybrid character is ‘body focused’ and has a ‘double influence’. Ana Sanchez Colberg describes it being centralised within the theatre space it is a mixture of ‘body/text/theatre'. Ana further explains that the genre that has this ‘double influence’ is not of ‘stylistic features’ but also explains the relationships between performers and the audience. It has a much more large effect then the one genre of dance or just drama on its own and this ‘reality... goes beyond mere representation via the body’ (Sanchez-Colberg in Keefe, Murray; 2007, p 21)
Ionesco explains the work in physical theatre discussing the way we all use our words in gestures and ‘contain mime which at the moment become adequate, take their place’, (Sanchez-Colberg in Keefe, Murray; 2007, p 22). I agree with Ana Sanchez Colberg, no one can define the genre; it is used as a tool to expand in the work of theatre.

3. The Akram Khan Company is well known for its contemporary and Kathak dance. Akrams work focuses on love, culture and acceptance in society. In work such as Zero degrees Akram Khan and ‘Sidi Larbi Cherkaoui the Moroccan-Flemish dancer/choreographer’ have focused on their personal journey. The journey of both performers can relate to people in the audience that have experienced problems they convey ‘In the programme notes, Khan explains that ‘zero degrees’ symbolises the rite of passage between life and death, belonging and non-belonging and most importantly identity and the lack of’ (Mitra, Royona, Dancing Embodiment Theorising Space: Exploring the 'third space' in Akram Khan's zero degrees). The performances show a ‘double influence’ as text is used with movement, just like Ionesco explains to us about the gestures used when we use speech. The fusion of different types of dancing such as the collaboration of contemporary and Kathak is used. Most of the companies work is like a hybrid performance but Zero Degrees is best described as the one that uses body and text the most as Kathak naturally imposes strong body language and expression.




Bibliography.

Article: Dancing Embodiment Theorising Space: Exploring the 'third space' in Akram Khan's zero degrees by Royona Mitra 30 May 2008:
http://www.akramkhancompany.net/html/akram_akram.htm


Keefe, J & Murray, S (2007), Physical Theatres: A Critical Reader. London: Routledge.

assesment 1

1
Physical theatre can be a very debatable form of theatre. It is debatable because there are many practitioners that define physical theatre as dance, others that defines physical theatre as a mix of physical theatre and dance.
Before starting this course I did not have a great understanding of what physical theatre was. I just saw physical theatre as a play made up of dancing. Now that I have had the opportunity to be able to watch physical theatre pieces, and I am currently in the process of creating a physical theatre performance, I now have a much clearer understanding of what physical theatre is. Physical theatre is much deeper than just dance. I find physical theatre performances really powerful, I say this because you can have a whole performance with no text, but yet you are able to tell and create a story just by physical movement gestures and expressions and emotion. So for this reason I see physical theatre more than just dance, I see it as a creative way of using movement, some aspects of dance, gesture and expression to create a performance.
2
Sanchez-Colberg understanding of this is that two different genres have come together to create a new genre which consists of physical theatre and dance. Sanchez-colberg uses the term “double current of influences” my interpretation of this is that the combination of dance and theatre to create physical theatre. Both genres have come together to create one. The both compliment each other and have a influence on each other. This is what is known to sanchez-colberg as the hybrid, I agree with this theory as now that i am taking part in a piece of physical theatre I can now understand that physical theatre is a combination of dance and theatre and has other influences such as moment, gesture, expression, they are all as important as each other as they all help to build the final performance.
3
Jasmine vardimond is the latest physical theatre company that i have had the pleasure of watching. I was so drawn in to the whole performance. There was many times the cast would perform an ensemble piece , where they were very much in time with each other this was very effective, and showed how much the cast in tune with one another. As watching this performance i could see that a lot of the performers were trained in different types of dance, this added individuality and creativity to the movement and dance aspects of the performance. The theatre side was very powerful also and we as the audience were able to decode what was going on, through the use of emotion, expression and gesture along with movement from the performers.
Bibliography
Keefe,J and S Murray (2007) Physical theatres: A critical reader London: Routledge

Natalie mccalla

Blog Assessment- Task 1

1) Physical Theatre is a complex subject, there are many definitions and explanations for this genre, yet there is still not a specific defined answer to what it is. A key feature coming from this module was impulse where every lesson would involve some sort of the act of impulse; an urge or sudden and instinctive motive or movement was carried out. In terms of Physical Theatre I am suggesting the impulse of the body, not having the brain take over or control- which the brain automatically does, but have the body lead and move to what it feels rightly to do so. On DV8’s website it says ‘not all decisions that are made in making a piece have completely thought- through reasoning behind them.’ Impulse does not think, it just does with out thought. Through out Process & Performance we used this key feature of impulse, an example of this is at the end of some lessons, the group would sit in a circle. When felt ready to, they would go in the middle and perform, no thinking, just doing. We never knew what we were going to perform, when or who with. It was purely through our bodily impulse, when it felt right to do so.

2) Ana Sanchez- Colberg implies that when trying to define Physical Theatre, the influences of dance and theatre need to be taken into consideration. I agree with this as there is still not a definite answer to what it is and believe there will never be. There will always be a question and further development to the definition of Physical Theatre. The question of whether it is dance or theatre will always be the main point of debate. Ana Sanchez- Colberg says ‘unfolding of narratives through physicalized events’ Unfolding of narratives- This implies the theatre area of physical theatre and physicalized events- suggests the dance aspect. The word dance- refers to the movement of the body to express a certain emotion of feeling. Drama- is action, telling a story or narrative. Breaking down the word PHYSICAL THEATRE, Physical = to move = Dance and Theatre = to act = drama. Therefore sums up for me to believe, that Physical Theatre is a hybrid character and involves both dance and theatre.

3) DV8 is a well known comptempary British performance company. I support Lloyd Nelson the founder of DV8’s view, that impulse and the notion of exploring is important. Exploring how the body moves, but most importantly why, what made the body move in that particular way or direction. DV8’s website explains ‘I seek movement with intention and purpose.’ The company uses there body physically to tell a story or to communicate when they have a message to communicate. ‘I only create when I have something to say… generally about issues that concern or affect my life at a given time’. In Porto it is about our life’s journey from the start to the end. This compliments Lloyd’s opinion as it’s about showing the audience/ public a part of you. An image or snippet of your life. This is one of things that make Physical Theatre so powerful and effective. It’s truthful and comes from the actor’s emotions and body impulse. ‘It is the actor who, rather than hiding behind crutches, must develop, with confidence, this special relationship to the public’. Dennis, A (2004, pg 7-8)

‘It is through the body that the actor is able to articulate the objectives of the theatre.’ Dennis, A (2004, pg 8)

BIBLOGRAPHY

Keefe, J. Murray, S. (2007) Physical theatres: A critical introduction London, Routlegde

Callery, D (2002) Through the body London: Routledge

Dennis, A (2004) The Articulate Body: The Physical Training of the actor London

OTHER SOURCES

www.blackfishacademy.com/physical.htm

www.dv8.co.uk

Assesment 1 :- Due Wednesday 25th February

Question 1:

Physical theatre is usually considered as drama and in effect dance merged together as one, created by using a mixture of aspects and components. There are many forms of theatre that can be categorised as physical theatre, these include Commedia dell’Arte, Clowning, Mime, slap stick etc. Although there is no specified definition for physical theatre a simple expression to acquire understanding of the genre is to think of it as performance that pursues storytelling through primarily physical means. Any movement-motivated theatre can also be deemed Physical Theatre. “At its simplest, physical theatre is theatre where the primary means of the creation occurs through the body rather than through the mind.” (Callery, D (2001) p.4)

The foundation of a piece of physical theatre tends to draw from from lateral thinking and leaves no room for the conventional ideas. Each piece of physical theatre whether scripted or not habitually has an inimitable structure.

Physical theatre has evolved and adapted from a variety of origins and cultures. Practitioners John Wright and Steven Berkoff gained their skills and experience from L’Ecole Jaques Lecoq in Paris, a school specialising in mime and theatrical studies. Lecoq has had a major influence on the modern turn of phrase Physical theatre.


Question 2:

Ana Sanchez-Colberg discusses the term ‘hybrid-character’ when referring to physical theatre. She implies that physical theatre is indeed a clear identifiable fusion of dance and drama. Sanchez-Colberg uses the expression ‘double-current’ to describe the merge.“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)

My understanding of physical theatre is that it is identified to combine both dance and drama using movement (dance) as substitution for dialogue that tends to be used more in plays. Frequently only very little dialogue if any at all, is spoken within a physical theatre performance. The performers communicate emotion through expressive movement rather than using words. I find this to be in effect more attention grabbing and entertaining as the audience is challenged to concentrate and use their mind's eye to comprehend the emotion, and the story being told within the piece.


Question 3:

An example of a British performance company that performs physical theatre is DV8. DV8, (established in1986) physical theatre work leans towards risk taking “physically and aesthetically”. Destroying any ideas of barriers between the merge of dance and drama. This allows the company to spotlight and deal with personal politics and commutating ideas and feelings clearly, allowing undemanding interpretation for the audience.

Although the company perform pieces that are deemed to be a combination of both dance and theatre, their website suggests that the company lean further towards defining their productions as being majority dance based rather than affiliated to theatre. “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.”


Bibliography

Keefe, J & S Murray (2007) Physical Theatres: A Critical Reader London: Routledge

DV8 physical theatre (2008) [Home page] [online] [February 20, 2009.]<>

Bausch, P. and Schmidt, J. (1978, 1984) Not How People Move But What Moves Them, Pina Bausch-Wuppertal Dance Theatre or The Art of Training a Goldfish, trans.

Callery, D (2001) Through the body. New York: Routledge

http://www.physicaltheatre.com/main/index.asp


Tonia Shepherd

Assessment 1

1. As it is hard to pinpoint what physical theatre is, it is feasible to identify the key features of physical theatre, and they are predominantly a combination of dance and drama, but without the aesthetics, codes and conventions of that are traditionally linked with drama and dance as individual performing art forms.

There is however, a definitive distinction between stylised movements used in dance as opposed to the more generalised, pedestrian movements that can derive from just everyday observations in physical theatre. Even the simplest of actions, ie:- Walking, Waving, Running, Eating, Smiling, Jumping etc can connote many things and lead into various different possibilities that can explored, whether within a relationship or in a group entity.

Physical theatre is about reacting on impulses. It’s about not needing a set narrative already put in place, but a reactive factor of combining those pedestrian movements that are less developed, but enhanced further by being characterised through the acting element of physical theatre, and allowing for a natural narrative to derive and flow. Having a set narrative can restrict you in what you do and what you feel you can do or where you can go, where as the idea of the ‘play’ element allows for you to experiment new ways to move, lift, and react to the action around you, giving that freedom of letting the narrative follow on from the story/relationship you’re creating, which then develops a set structure itself as opposed to fitting to a pre-determined concept/motif.

In terms of the acting element that is brought to physical theatre, the theatrical tension is enough and in this physical theatre genre it is very common for there to be little or no aural content, as words are literal, whereas the body is a language to itself and speaks volumes, however facial expressions emphasises the physical expression and just enhance the tension even further.

2. I think that what Sanchez-Colberg means by this is, is that physical theatre will always need the dance and theatre elements to combine to compliment each other to create physical. ‘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’. And to a degree, I agree with this, but I don’t think that physical theatre should be made to fit problems, or challenge society as I feel that eradicates what physical theatre is about, as its about instinctive action, gestures and developing gestures which can mould a character you become, as I think in as much as dialogue isn’t a focal point in physical theatre, dance as a component isn’t enough to convey a single identity or even in a neutrality circumstance, the unified quality that brings within physical theatre. And that the acting element does give that added intensity between the narrative and without it, but I think physical theatre is more about the risk element and the ability to explore freely emotions through the body but without it being about aesthetics, the impulsive nature of the movement is captivating enough to see. And I think just feeling that urge, reacting on that natural first instinct, or sensing that the moment is right for you to move into a space or connect with someone else in that space. All of this can be achieved from just the most basic of gestures and movements.

4dr are a company I’ve recently come across, but from looking on what they’re about, the inspirations that have influenced the company are similar to the type of physical theatre interested in, however they are very comical based in as much as they are very dance orientated and I think that’s why I like them, because its not a combination I’ve seen before and enjoyed. They have a clear concrete concept of what physical theatre is for them and that is clearly evident in they’re work.
‘Physical Theatre is a crossover between dance and drama where many forms of performance take shape. Many physical styles of theatre such as mime, Commedia dell'Arte, slap-stick, clowning etc can be categorised as physical theatre. Any movement-driven theatre can also be called Physical Theatre.’



Bibliography

http://www.4dr.co.uk/whatis.php

http://www.blackfishacademy.com/physical.htm

http://www.franticassembly.co.uk/p105.html

http://www.physicaltheatre.com/main/index.asp


Keefe, J & Murray, S (2007). Physical Theatres: A Critical Reader. London: Routledge.

Sandy Pooni

Blog Asssesment 1.

1) The Physical theatre genre consists of a cast of collaborative performers who devise work through improvisation and the use of intense body movement/contact/pressure, pedestrian and stylised movements as well as powerful eye contact. A prominent feature of the physical theatre performance genre is the ability of the performers to express characters and narrative through the prime use of the body. There is also a strong sense of being able to focus and lose all inhibitions by finding a neutrality within each individual performer. Neutrality is the '...state of 'being' untrammelled by personal idiosyncrasies, a state where the actor attains an energised stillness' (D, Callery, 2001, p32). This neutral stance then prepares a performer to become aware of impulses in which can provoke creativity through the body. The movement within physical theatre is associated with impulse, and reacting and transporting as a result of impulses received from a character and their emotional response. 'Movement is the result of a first inner intention of the body- what Laban defined as inner motivation- as it desires to project itself into space' (Sanchez-Colberg in Keefe, Murray; 2007, p 24). Physical theatre does not necessarily have a linear path in which the audience are able to follow and make sense of, which may give the spectators difficultly in gaining understanding and meaning.



2) Many people find it hard to distinguish and pinpoint a specific definition to what physical theatre is and Sanchez-Colbelg's referring to physical theatre as a 'hybrid genre' implies that it is a kind of theatre that combines more than one type of performance genre - of which are theatre and dance theatre. Anna Sanchez-Colbelg indicates that a 'hybrid character' within the genre of physical theatre may consist of performers who are able to use a combination of dance and drama elements simultaneously to portray a range of characters, emotions and situations to a contemporary audience. I would agree with Sanchez-Colbelg's views on physical theatre characters being described as 'hybrid' as physical theatre productions generally consist of mass choreographed sequences and repetition which is typical of dance productions as well as portraying a range of characters and emotions known predominately through the genre of theatre and drama.



3) The Jasmin Vardimon Theatre Company are a contemporary British theatre group which show some features of physical theatre. Their work is highly based on the movement and the physicalities of characters with the creation of relationships and bonds. The company are well known for the exploration of 'human experience and social relevance' with their productions being described as '...beautifully detailed movement, insightful humour and engaging drama' (http://www.jasminvardimon.com/about.html) The performers within the company are given stimuli and ideas from the founder of the group Jasmin Vardimon, in order to improvise and devise particular parts of the production with direction from Jasmin which is typical of physical theatre. What is different from the way in which I described physical theatre above is that the Jasmin Vardimon Company have included small extracts of speech within the performances which may help the audience gain a certain level of understanding and meaning of the productions.



Bibliography.



Anon. About Us. Available: http://www.jasminvardimon.com/about.html. Last accessed 22 February 2009.

Callery, D (2001). Through The Body. London: Nick Hern Books Limited.

Keefe, J & Murray, S (2007). Physical Theartres: A Critical Reader. London: Routledge.


Leyna Bansal.

assesment 1-

To define physical theatre is not possible it is movement from impulse a method of expressions to show feelings using pedestrian, stylised or neutral impulses. Prior to exploring the genre of physical theatre my preconceptions were that it was more dance, as with drama you don’t have to have physical movements but dance it is purely based upon physical movements with perhaps a little story behind it. After realising the prominence of a storyline inspired by movement as DV8 says it is not necessary to label it. The method is what really surprising it was the ability to separate yourself and overcoming inhibitions. Other features is the things we don’t see like the journey the performer goes through, the process of forming relationships, the setting, background and emotions. “It is the performers live body more than spoken text which gives theatre its defining identity” which means it’s the body’s meaning as it walks through a space it is what the body says to the audience. It’s not important to use aural as there is more tension and atmosphere without spoken words. In addition it is not important how the piece looks but how it got there through exploration and play.

It is clear the term hybrid character applies to physical theatre; Ana Sanchez-Colberg implies that “The term itself – ‘physical theatre’ – denotes a hybrid character and is testimony to its double legacy in both avant-garde theatre and dance. (Sanchez-Colberg 1996, p40) I agree with this as physical theatre is about the formation of characters using dance like movement. The two different styles are the main factors within physical theatre However Jacques lecoq feels that we should also acknowledge the other theatrical forms that are contained within physical theatre such as French mime, circus or street performance which are all popular performance styles. Lecoq is expressing that you don’t have to be able to dance or act to do physical theatre its just a combination of performance elements and styles not defined, I feel that Sanchez-Colberg is limited in her definition of physical theatre and it is a broader spectrum.

Forbidden theatre “consists of theatre professionals who enjoy creating work collaboratively and sharing the creative processes with audiences” I have looked closer at them as they have a real sense of play and don’t focus on a pretty performance. There style complements what I have begun to understand of physical theatre their aim is to focus on the techniques that are used when making a piece, their workshops they practise how to create moods and atmosphere, forbidden theatre is the definition of physical theatre as they “take the audience down an unforgettable journey by using our only essential performance tool: ourselves”. This is the key element to how they perform they are very visual and have very stylised pieces. Interestingly they look close at the practitioners such as Stanislavskiy, Brecht, Lecoq and apply a practical approach to their theories; they have the elements and background which make up physical theatre.


bibliography

http://www.dv8.co.uk/
http://www.forbidden.org.uk/
http://www.phyiscaltheatre.com/


Keefe,j & Murray,s Physical theatre:2007- A critical reader London routledge
Murray,S Jaques Lecoq:2003-Routledge performance practitioners

David Jackson

Blog Asssesment 1 Task...

Blog Assessment - Task 1

Deadline: Wednesday, 25th February 2009, 5 pm

Word Count: 500 words total (200 + 150 + 150)

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 one of the handouts given to you in Process & Performance.

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 supporting quotes and examples to argue 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

Questions:
Discuss the key features of the genre of ‘physical theatre’ as explored in the module content of Process and Performance. (200 words)

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. (150 words)

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. (150 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

Test

I am just posting my test blog to let you know that it is working.

Waqar

Group

This group consists of

Sandy Pooni,
Leyna Bansal,
Tonia Shepherd,
David Jackson,
Natalie McCalla,
Zara Bailey.
Waqar Siddiqui