Establishment of Expression in Physical Theatre - Essay Example

Establishment of Expression in Physical Theatre Introduction The components associated with physical theatre are different than other forms, specifically because of the expectations that are associated with the expressions used. Physical theatre relies heavily on the capability of actors and actresses to display different ideals through physical movement, as opposed to text and other forms of expression. The relationship which is created to the main expressions, audience and other components create a different alternative in being able to reach the audience while interpreting the work which has been performed. The definition and understanding of physical theatre is one which is able to present different types of identity toward the main form of theatre. Examining the relationship of the theatre to different parts of the performance can create a different understanding of how the expressions in physical theatre established. Status of Text in Physical Theatre In traditional theatre, the main component is to use dialogue and monologue to express different ideologies. This tradition is able to express different components and brings out the main identity within the theatre. In physical theatre, the words are secondary to the actions and physical expressions that are taken. The words are only used to support the actions that are taken and to exemplify the identity which is taken through the physical movements. For the physical theatre to work effectively, one has to understand the qualities of words through physical movement, as opposed to the expected description of the word. For instance, if one wants to express the idea of wisdom, then the physical movements will need to show this and place metaphors and similes that are expressed through the body. The text then becomes a supporting role that allows actors and actresses to interpret a given idea and form (Callery, 2001). The text that is associated with the physical aspects is one which makes the writer redundant in the creation of ensemble work. Since the work is only used to define the physical aspects, the writer no longer holds the same place within the establishment of the work. The main component which establishes this is the combination of intertextuality and intratextuality. The intertextuality comes from the writer and is used only as a guideline to establish the main work which is occurring. The intratext is how this is established within a given environment. According to Robin Arthur, director of physical theatre, the entertainment was one which allowed the text to be used and re-used. The single line of text, when going into the physical form, required a different medium of expression and changed the way in which the context of the theatre was established. From this viewpoint, the text not only became secondary but could only be used with the way in which one could reflect the text in a physical form (Lehmann, 2006). An example of the text in physical theatre that became secondary was led through different forms of physical theatre which began to be a part of the theatre. The Impossible Theatre, also known as the Theatre of Cruelty was a significant movement toward creating a different aspect of the word relationship to the audience and what was occurring. The works of Antonin Artaud were able to create this as a main ideology. The Theatre of Cruelty used the concept of language and sound as an experience, as opposed to a meaning. The experience was then followed by the concept of the establishment of the performer through the use of the physical. The written language was one in which became secondary as it was not as important as the physical expression of emotions, tension and the way in which demonstrations were used to show cruelty. The words were also able to move into a component of being a sound that was able to reproduce the thoughts of a character, instead of having any significant meaning. The secondary use of the words as one which was not an expression, but instead an emotion and representation of the character and physical aspects were then able to create a different understanding of the overall performance (Finter, 1997). Relevance of the Mask for a Performer The use of the mask as one which can be used for the performance is just as important in the construction of expression for physical theatre. The words are secondary to the performance, which makes other constructs more important to the performance. The visibility which is added in with masks is able to provide and enhance the performance, specifically because a new type of expression is available for those that are a representative of a character or idea. A reference to this comes from the actress Yvette Nachmias who was performing with street performance and who noted that the ability to use masks changed the visible expressions which were incorporated into the main performance. The creation of theatre as both presentational and representational is the main consideration. The presentational is the basis of the masks where it is able to visually stimulate the audience. The masks which are used, or when they are not used, creates a representational aspect. The metaphor of the masks is able to show a specific expression that is a part of the emotion of the character or which represents a certain quality that is associated with the character. Having this association is then able to create a different form of expression that is a part of the presentation and which adds a new dimension to the main point that is within the theatre (Schechter, 2003). For the components of the mask to work, specific philosophies and ideologies would need to be implemented. One who led the way in the philosophies was Jacques Lecoq, who built a specific role with the neutral mask and movements which followed. The neutral mask was designed to have little to no expression and didn’t allow the facial expressions of the different individuals to be incorporated into the main theatre. The physical movement then became the center of attraction, specifically because there was a component to reflect everything through the physical movements. The audience was then forced to interpret the movements and the physicality of the piece, as opposed to looking at expressions and facial motions which may have been used as a metaphor. The relationship which was created with the neutral mask is one which forced those who were watching the performance to see the creative expression in an alternative manner while interpreting the main physical movements according to personal associations with the physicality of the piece (Yarrow, Chamberlain, 2002). The importance of the mask in physical theatre is important not only because of the neutrality or the metaphorical representation. These different aspects are related specifically to the concept of the physical. The expressions which are used or which are absent then help to define the overall meaning of the performance and create an alternative understanding of what is occurring in society. By doing this, there is the ability to establish a different meaning to the performance and the associations that are a part of the physical representation. The masks become a primary component to establishing other physical components in the performance and create a deeper meaning to the overall expression that is being established among those that are in the theatre. Relationship Between Circus and Circus Skills Another component directly associated with the physical theatre was on the relationship of the circus and circus skills required for the physical theatre. Many of the performers were in need of using specific physical performances to associate with the audience and to express specific movements. The actions which were taken were able to create a specific presentation and creative expression used throughout the performance. However, the circus representation that is used is one which many in the audience affiliate with entertainment that is fun and for the family. The different skills which are used then have to create a different association with the way in which the theatre expressions are used. The physical contortions which follow this then characterize associations such as with the clown going to death by withered limbs. The contortion which is required, and which is specifically affiliated with circus skills then becomes a primary consideration for those that are interested in the movement of the theatre. The circus and the circus movements then have two associations, one which is based on the fun of the circus and the other which includes complex movements which are metaphorical because of the cultural understanding of what the movement means (Stoddart, 2000). The association with the circus is one which became even more important to those which were re-inventing the theatre through physical movements. Many that were associated with the circus would take the specific movements and expectations that related to the affiliation with specific movements. However, these would slightly alter, specifically based on the level of experience of the performers as well as the artistic creativity that was associated with each of the performers. More important, most artistic directors didn’t have a specific affiliation with professional circus moves and physical applications. Many of the directors and performers would then interpret the circus physical movements and the associations with the work that was a part of this. The creativity and the amount of artistic capability then altered the expectations within the theatre, while creating a different association with the use of circus related materials in the different performances (Hall, 2002). Relationships Between Performer and Audience Another association that is made with the physical theatre and the basic demands was the changing relationship between the performer and the audience. In traditional theatre, the main component was the individual performer as a spectacle, specifically which was seen on the stage and which was able to show a specific aspect of the performance through the amount of expression made. Since physical theatre had different masks, costumes, movements and associations with words, the spectacle component of the performance also had to change. The alteration was based on a closer relationship with the audience and the need to show how action and the different aspects of the physical movements related to the audience. The barriers of the spectacle slowly began to break down and create a different association with those that were performing on the stage. The context was then able to alter, specifically because of the way that the performers enhanced and changed the cultural associations and the relationship between the various members (Beeman, 1993). The physical audience and the performer then moved into a sense of mixed reality boundaries. The boundaries between the stage and the audience were broken down, specifically because of the alterations and the transparency which was established with the physical realm. The boundaries which were first configured were based on physical spaces which immediately separated individuals. However, the physical theatre was able to create a different demonstration of the performance, specifically which broke the regular territory and allowed the physical experience to be produced both by those in the audience and on the stage. Since the physicality of the performers is based on the entire play, then the necessity to recreate space and to use the different areas differently also became important. For instance, street plays based on physicality were able to create different associations with the audience because of open spaces. Theatre halls often broke down the audience members from the main demonstration of the performance because of the way in which the performance was approached. The configuration of the play then relied on space as well as the ability to transfer boundaries within the play (Koleva, 2002). Different types of styles with the physical performance also created a different sense of boundaries through the signs and experiments which were used. A leading concept that was associated with this was based on the concept of the poor theatre. The main concept which was associated with this was to break down all physical boundaries between the audience and the performers. The poor theatre was based on experimental works, specifically which were able to use scenic techniques and physical acting as the core component. The poor theatre approach was one which eliminated the difference between the audience and the performer. More important, the performers often took the role of an audience member, specifically to create a different perspective of what happened. This type of physical theatre was able to create a relationship with the audience by making them a part of the performance and associating them with development and methods that were a part of the experiment. The production which was created was one which was based on methods of observation from the performers and audience then incorporation into the performance through the overall amount of time. The use of spatial components was the most important part in establishing the audience as a part of the performance in concepts such as the poor theatre (Grotowski et al, 1967). Conclusion The concepts associated with the physical theatre and the way in which these reflect the expressions of the director work together to create a different understanding of what is occurring in the performance. The physical becomes the primary component and is not only related to physical movements and associations. More important, there is an understanding of how this focuses on the primary expressions, such as the replacement of words and the ability to become a metaphor toward what is occurring within society. More important, there is a direct association with the audience and performer where there is the ability to break down the physical space and to allow the audience to become a part of the performance, specifically because of the physical presence that is associated with the performance. References Beeman, William. (1993). “The Anthropology of Theatre and Spectacle.” Annual Review of Anthropology. (22). Callery, Dymphna. (2001). Through the Body: A Practical Guide to Physical Theatre. New York: Nick Hern. Finter, Helga, Matthew Griffin. (1997). “Antonin Artaud and the Impossible Theatre: The Legacy of the Theatre of Cruelty.” TDR 41 (4). Grotowski, Jerzy, TK Wiewiorrowski, Kelly Morris. (1967). “Toward the Poor Theatre.” The Tulane Drama Review 11 (3). Hall, Felicity. (2002). “Strategy and Report on Circus.” The Arts Council of England. Koleva, Boriana. (2002). “The Properties of Mixed Reality Boundaries.” ECSCW (99). Lehmann, Hans – Thies. (2006). Postdramatic Theatre. New York: Routledge. Schechter, Joel. (2003). Popular Theatre: A Sourcebook. New York: Routledge. Stoddart, Helen. (2000). Rings of Desire: Circus History and Representation. UK: Manchester University Press. Yarrow, Ralph, Franc Chamberlain. (2002). Jacques Lecoq and the British Theatre. London: Routledge. Read More