Video Presentation
Devising techniques could be said to have originated at the beginning of performance, where people would come together to create new performances. Although typically, original performances were created from stories, no person had a specific role in this time. There were no specific actors, directors, producers, etc, just people filling natural roles and utilising life skills. Devising could also be compared to going back to pre-school or class 1 of primary school. At this time, play is an important aspect of learning. During this time, we would 'devise' our own stories and make use of the resources (play house, costumes, etc) available to us. I was particularly fond of 'the cube', which was a scaffold like structure with changeable panels. The cube would become a castle, a ship, a prison, a log cabin in the woods, what ever story we had decided up on that day. We would play characters (knights, pirates, soldiers...) depending on the story. Devising theatre is not far from this childhood play and therefore, has also had a nostalgia effect. I have remembered who I am, who I was born as before external influences took fold. Therefore, although I am new to performing and have little experience of theatre, devising is not an alien concept.
There are some core fundamentals of devised theatre, with each practitioner or company mainly focused on their own unique techniques. Some of the typical fundamentals of modern devised theatre are:
Character driven- The stories are developed through the interactions of the characters through improvised rehearsals.
Improvisation: Fundamental for story, movements and script.
Minimalism: taking away the scenery, the props, even costume. Focus on actors and story
Free play: actors given freedom to work on characters and play out scenes.
Focus on action and movement to create scenes
Freestyle (no rules) – use whatever techniques and styles as influences for devising stories.
Stimuli- Devised performances are often built from a stimuli that could be a socio-political issue, a piece of music, or even a touch.
Commission: As devised pieces are developed from scratch, often a troupe will be request to devise a performance to raise awareness on a particular issue (stimuli).
Independence: Actors become self directors, producers, script writers.
Devising theatre is new to me, but I have already been influenced by it. Devising theatre is a natural process. I do not have to learn a particular method, it more a question of play. I may be trained with skills and provided knowledge from various practitioners, but I am not learning a style. Within rehearsal, these skills can then be used to devise unique performances.
Commedia Dell'arte
If we want to look at an early example of performance that had similarities to devised theatre, then Commedia dell'arte could be mentioned. Commedia troupes were formed by professional actors who did not want to rely on directors or script writers for driving performances. Performances were based on a common story or theme, and mostly used stock/stereotyped characters, that had a per-determined set of characteristics. The performances were focused on the improvised interactions between the actors. The characters were in in classes of masters, servants and lovers. These characters represented people within society such as a master character, Pantalone, representing a greedy banker. The Harlequin being a Zanni, character whose responsibility is to cause trouble and alter the interactions between the other characters. The Lovers were often at the centre of a performance, with the other characters moving around them. Various characters are working against them, whilst the lovers seek help from the Zanni (servant) class. Without a script, the interactions between characters are what developed the story and made each performance unique.
Although Commedia is an entertainment, it was used to draw attention to societal issues, particularly social standards, the disparity between upper and lower classes, by it portrayal of the stereotyped characters. Satire had existed since Greek theatre, and was fundamental to society in this time, as often it was the only way in which issues could be raised without being considered a criminal offense.
Commedia Stock Character List: https://studylib.net/doc/6694322/commedia-chart
Street theatre and Mime can also be used as examples of early Devised theatre, where the performers would would often use improvisation and devised movements to create new performances. Mime is typically performed in the street. Mime origins could potentially be ancient, but is known to have developed as a specific style during the time of Commedia dell'arte and Shakespeare. Mime is purely visual and imaginative performance, where the performer aims to encourage the audience to believe their performance is truthful, whilst they interact with imaginary objects, or over react to props. Mime is influenced by Commedia, particularly in costume and makeup, but also early Greek Theatre, where actors would perform scenes silently to a chorus, narrator and music, expressing only via the use of body language. So although Minimalism seems like a new theatre concept, it has existed since Mime.
Devised theatre has taken these basic practices, such as those used in Mime and Street theatre, and turned them into a methodology.
There have been a number of direct and indict practitioners who have contributed to Physical and Devised theatre The practitioners either developed techniques that are used in Devising theatre, pioneers or actual practitioners in devised theatre.
Antonin Artaud 'theatre of Cruelty'.
Artaud was highly opposed to realism and naturalistic acting style. The aim of the performances was to be representative of a nightmare, or the delusions of a schizophrenic. Despite his short career, Artaud has been very influential in theatre technological development. Like its name implies theatre of cruelty aimed to shock the audience. To do this, plays would need to performed differently to existing styles such as Melodrama. To help create this shocking effect, Artaud pioneered the use of Lighting effects such as gels and also sound effects (loud noises, explosions, etc.) to be used in the plays. He would also use other visual effects such as gore to illustrate a murder scene graphically, where traditionally, murder scenes were often performed behind the scene or implied. Many of these technological advancements and evolution in performance style, are now typical of live and recorded performances for additional dramatic effect (see Zombie Films). The performers would contribute to the effect by the use of more aggressive acting style, with larger, dramatic, physical action. The use of screaming, laughter, high pitched noises and shouting. The actors would not only need to perform in a manner that would make the audience feel uncomfortable, but also the other actors. The actors are in each others face and very physical to each other. Therefore Artaud can be said to be the most influential practitioner to modern theatre as he developed LFX + SFX, pioneered physical theatre and has obviously influenced the horror genre.
Stanislavski
Stanislavski's techniques have been revolutionary in theatre He aimed to create more realistic performances. Stanislavski developed methods that used the performers actions to build a scene. Before Stanislavski it was typical that theatre performances used stock characters. Stanislavski pioneered the development of characters and this is fundamental to devised theatre As each performer develops there own character, the interactions of the characters changes and contributes to the development of the devised piece. This allows the actor greater freedom to develop their own unique character, which is an important element of devising.
A typical exercise for developing character would be hotseating. A performer would be asked details of their character such as name, profession and various other background details. This would be used to build a characters profile and the actor can gain new insight by being questioned of other actors.
Jacques Copeu:
Copeau was influenced by Commedia dell'arte, but his practice was mainly founded due to his opposition of realism and 'bourgeois' theatre. Although Stanislavski is considered like god in the acting world, when watching one of his plays, Copeau was most intrigued by the beginning of the play which was full of mishaps. Due to failures in scenery and various mishaps, the emphasis came onto the ability of the actors to express the stories. Copeau incorporate Stanislavski's idea under his umbrella of what could be described as 'total theatre'. Copeau's school was not a typical drama school. The actor is trained to be prepared for everything, from performing, to production, to life itself. They are then given the freedom and platform to self produce. Copeau main philosophy was that of minimalism. He aimed to strip away all superficial elements of theatre, not just on stage, but the actual location. This allows the focus to be on the actors and the story they are expressing. On the surface, the performing style is very similar to Commedia. The style would use white face clowns, who performed in dance like, gymnastic and animalistic manner. Although scripts were used, the script itself would normally be mimed or expressed physically. Copeau liked to incorporate a choir or chorus in training and performances. The aim was to bring together the performers as a single unit, that no performer was more important than the other. The benefits of training in chorus are improvements in chemistry and team cohesion. Copeau was so convinced by his methods, that he believe an actor attending his schools would not be receiving additional training, but retraining entirely.
The training under Copeau was extremely detailed. It is Copeau's training practice rather than performing style that make him stand out as a practitioner. The training covered areas beyond performing. The training would include the following focuses:
Education of the body. The performer is trained in music, gymnastics, acrobatics, dance and physical exercises. The aim was the develop a wider range of physical skill and athletic ability.
Craft Skills – Performers were training in craft skills such as drawing, modelling, fine art, costume and prop making. These skills could be used to in the production, allowing performers to become more independent.
Singing: Performers would be training to sing solo and in chorus.
Exercises in dramatic expression- This training included mask work, which was considered a useful tool for helping performers relax Physical games, essential playing time where performers could devise freely. Physiognomy, which is the practice of understanding facial expressions. Mimicry, which is to imitate something. Often, this would be imitate the behaviour and movements of animals.
Improvisation: The performers would practice with improvisation. Impro could be purely physical or make use of dialogue. Performance are devised from improvisation.
Elocution, diction and declamation classes. Speech classes were an important discipline in Copeau's training. An exercise could include reading out loud from a book.
Free play – Copeau believed in training the actors to be able to independently produce their own performances.
Community work and living. Copeau believed that if the actors worked and live together, this would create a team ethos and improve chemistry. It was also part of his belief in seeing performance in a religious like manner. The students under his guidance, essentially living like monks, sacrificing everything to become total performers.
Although, I have only briefly flirted with Copeau, I am already massively influenced by his practice. He was not a director, but a teacher. He provided actors with the skills the had learned under his guidance, the freedom to create new performances. The skills allowed actors to create performances from the ground up and is not too different the approach used in modern devising practice. The actors have freedom to take on natural roles, creation of characters, props, costume and scenery. Copeu was of a sporting background before becoming interested in performing arts. He was able to take his athletic knowledge and skills and incorporate them into his practice. Actors were also trained in production and taught life skills. His use of physical exercise was useful for improving actors physical and mental capabilities. I also have followed a similar pattern, having a greater interest in sport during my youth, have trained athletically, and also having skills outside of performing that are useful in production.
Rudolf Von Laban
Laban has been highly influential in the arena of modern dance but his style has also been useful for devising physical movements. Despite his influence, Laban has some degree of notoriety due to his association with the National Socialist Party in Germany. Laban was a member of the Free Masons and Thule Society. From this came his fascination for ritual and the occult. Laban had a religious like view of dance and movement and developed his techniques based on Dance Ethics. His system of movement was both inspired by, and inspired the Nazi party. Laban was asked by Goebbels to organize dance festivals on behalf of the Nazi party. The aim of the performances was to use dance that reflected Nazi ideals and would to influence society and create a new national identity. Laban's role within the Nazi party gave him control over all dance schools in Germany. He oversaw regulation of dance schools to ensure only Idealistic dance techniques were used. He was particularly oppressive of ballet and his techniques aimed to move away from the style an focus on Racial Pure Movement. Laban philosophized racially pure movement that matched Nazi ideaology. He saw sideways movements as 'Aryan' and the Waltz become the dance technique most representative of these ideals. Like the Nazi's, Laban also believed unity and was opposed to alienation. He saw performers as crystals within crystals*, that one was reflected in the whole . That no single performer was greater than the whole.
*(Ref https://www.youtube.com/watch?v=VlHYVMHxSCQ)
Laban's philosophy saw that each performer had a living space. The living space consisted of the:
Hemisphere: The space around the performers
Kinisphere: The inner space of the performer. There thoughts, feelings and memories.
Laban's practices worked at encouraging the performer to express their inner feelings through movements. Laban's main technique and what he is most known for the world of performing, is the 8 Efforts.
The 8 efforts are a system created from Laban's study and break down of human movement. He categorised human movements by a series of actions that are dictated by variables such as time and space. Each Effort is attached to a meaning, it would be used in a particular moment, such as an argument, but it could be more general. The variables dictate how the effort is performed, is it fast and free, or slow and bound? An example of Laban's study, is how a person may open a door. They will move their arm across the body and pull the door towards them with their back turned away from the room. The 8 efforts are important in performance due to its ability to be used a language used to describe particular movements or how a feeling
There are many critics of Laban techniques due to his association with the National Socialists. Laban's techniques are a tool and not be discredited due to its source. We can also look at other products and associations of Nazi Germany such as the Autobahn, VW, Mercedes, Ford, IBM, Hugo Boss and Wernher Von Braun who are better off because of their association but are still renowned. Laban's philosophy and tools are two separate components. The 8 efforts or the Waltz are acceptable as long as WE don't consider them racially superior movement. Laban's practices are an example of how a performance style and go beyond communicating a message, but instead moves towards establishing a national identity.
Jerzy Grotowski, 'Poor theatre/Laboratory theatre'.
Poor theatre was formed by Grotowski in Poland as opposition to superficial and bourgeois theatre. The style contrasted other theatre styles of the time, particularly those who used complex machinery, such as rotating stages. Grotowski saw this as theatres 'attempts' to create illusions, but were unable to compete with TV and Film FX. Thus, he pioneered the Minimalist theatre style, where theatre can do without all the superficial details such as costume and scenery, down to typical elements such as stage, music and script. The ability of the actor to convey the emotion required in the performance. Elimination of separation between the actors and audience, or breaking the 4th wall, was fundamental. This was done by using the same levels of lighting for actors, exposing both actors and audience. The stage may surrounded by the audience on all sides. The actors were also forced to mix and perform among the audience. Due to the lack of props and scenery, often the actors themselves would take on the forms of objects. If asked to become a table they form the shape of a table. In the production of 'Faust's last supper', the audience members were seated around a table, as the guests in the play. The table becomes the stage and the actors even become 'food' during the performance. Grotowski was extremely experimental in performance, with new techniques being considered to create authentic and unique performances. Grotowski was influenced by both Stanislavski and Meyerhold. His embraced Stanislavski's approach to character creation but was more influenced by the movement techniques of Meyerhold. The performance style has some similarities to Greek theatre. The main similarities is that a performance uses a narrative and the actors express the story through the use of body language.
There are some fundamentals to Growotski style and practice such as:
Minimalist: Focused on actors performance, using actors to create props and scenery.
Experimental: Actors devised performances. Any technique could be used.
The actors were trained to reveal their inner truth. To act on their impulses.
Religious like devotion to performance. The style is extremely physically and mentally challenging, but is not financially rewarding. The actors followed his practice because they were disciples of the practice and motivated by personal development.
Consistent training. A performer is not a person trained as a performer, but a performer embodied. Focus in improvement as a performer. The actors were not trained in a particular method but provided skills to devise performances. Training was focused on opening the imagination and reacting to stimuli.
Physical exercises used to eliminate weaknesses. Weaknesses and limitations hold back a performer. Training would not only improve physicality, but also break walls in the mind of the performer.
Plastique's: Developing finer technical and elaborate movement skill. Understanding the involvement of the body in memory. Forming a connection between the memory and the body. The performer is to form a puppet master like relationship with the body. The performer is not just moving, but moving in relation to their inner most feelings.
What I respect most of Grotowski is the religious like devotion required of his students. The students were not people who performed put performers embodied. They are fully immersed within their performance and live a monk like communal existence.
Vsevolod Meyerhold
Meyerhold was most renowned for his development of Biomechanics (living machine). He focused on utilising purposeful, dance like movements to communicate a story. The performers would be trained in dance and circus type performance. Meyerhold was a founding member of the Moscow Arts theatre and was therefore a contemporary of Stanislavski. Although Meyerhold was opposed to naturalism and realistic styles of performance, he did however embrace Stanislavski’s ideas on character creation (example: around the table) and objectives. Meyerhold lived during the time of Stalin, who saw Meyerhold’s style as non-Soviet. Eventually, Meyerhold was imprisoned and executed for his practices. His practices were wiped from history during Stalin’s rule, but later started to emerge during the late communist era and after the collapse of communism during the later 20th century.
Like many movement practitioners, Meyerhold was influenced by Commedia Dell’arte and Mime. Meyerhold would use Commedia characters in performances, particularly the Harlequin clown character. Masks were used frequently during training and performances. Masks were used because it allows the actor to hold a fixed and consistent facial expressions. Masks are also important for training as it encourages greater emphasis on body language and physical expression.
Meyerhold aimed to create a system that was not ‘life like’ but theatrical. The style who be exaggerated and utilise dance like movements. The performers would be trained with skills that made them capable of performing in a variety of styles including naturalism, melodrama pantomime and circus acts. The training was intensive and extensive. Meyerhold believed that an actor was on par with a musician learning an instrument. That the actor body was their instrument, they would need to train every day and it would take 7-9 years for a person to become a fully trained performer.
Meyerhold believed in collectivism collaboration and working as an ensemble. The cast worked as a single entity. The actors would take on a shared stimuli and story and their characters and acting style would combine to create a unique performance.
Meyerhold created the equation N=A1 +A2. N relates to the actor. A1 is the organiser of the information (script writer, director, etc.). A2 is the material itself, the source, the story, the background, the stimuli. The actor has more control over their movement and needs to create movement in relation to their thoughts. The actor is also giving freedom to think creatively in order to devise characters’ movements.
Props and scenery had different roles in Meyerhold’s theatre. Props were not seen as superficial details, but an extension of the performers hands and therefore body. Stage scenery was used as part of the performance, it was designed to be moved and the performers would interact with the scenery pieces in unusual ways to supplement the performance. Entrance and Exits in the theatre, were explored and used to add a new dynamic to the performance, where performers could enter and leave the stage from varying positions.
Meyerhold’s training techniques aimed to improve performers in 3 primary areas:
Balance: Ability to hold off centre poses and dynamic movements.
Rhythmic Awareness – Moving to a tempo, moving with music
Responsiveness – Reacting to external/internal stimuli
The training would include exercises such as falls, jumps, runs and exaggerated body positioning. Shifting the weight off centre, was important for developing balance. Meyerhold used a system of actions based around the Dactyl, which used various stances and movements in a sequence of actions. The action may be something typical like “throwing a stone”, but this action would be broken down into a sequence of stylistic movement. The aim of the exercises was to create actions that had purpose and meaning. The action needs to contrast realism and be stylistic, such as the use of falls and off centre poses.
https://www.youtube.com/watch?v=EHI0znI6bKs
Joan Littlewood:
Joan had lived through two world wars and this largely influenced her works. Joan was influenced by a combination of Stanislavski's and Laban's character devising techniques. Joan was anti war and wanted to used performance to promote her stance. Due to the horrifying nature of war, she wanted to create performances that told stories relating to the war, but on the surface was completely alien. Due to her stance on violence, she did not want any characters to die during a performance. The performances were often comedic and for example, but not use realistic props. Littlewood was influenced by Brecht and political theatre. The performances were very musical and most of the story was sung. Superficially, a Joan Littlewood production would not appear too dissimilar Epic Theatre. However, unlike Brecht who was a play write, the performances were created by character driven, improvised performances. Joan was an expert in breaking down actors insecurities and encouraging them to reveal themselves to the world. Her approach was brutal and the tactics she used, such as gossiping and lying, would mentally break the actor. Despite her brutality, as a director Joan was not a dictator. She believed in guiding the actors in their performance. She also trained actors to work on instinct.
Joan's Philosophy can be broken down into the following criteria.
The performance aims to bring an awareness of the social and political issues of the time. The performance must be in the domains of 'political theatre'.
The performance is a 'theatre language' that people of working class background, could understand. The ideas were reflected via the use of poetry. Joan took influence from Shakespearean theatre, whose plays were performed for people of all backgrounds.
The use of expressive and flexible movements. The movement needed to break from realistic action.
The use of sound and lighting FX to enhance the performance. Lighting effects such as the contrast between shadows and well lit areas, were important.
Although Joan had some influence of minimalism and poor theatre, Joan productions were rich theatre. Props and detailed scenery were used on stage. The stage would also be multi platformed, creating new areas where actors could perform, such as utilizing the wings.
Joan incorporated a number of games into the rehearsal process. An example of a game is The raft of Medusa. A box is drawn and the actors squeeze onto 'the raft'. The actors would act as if they are shipwrecked and stranded at sea. Each session, there would be a change, such as its now 2 weeks later. The actors would need to change their performance depending on the change in criteria. Repetition exercises were also used extensively. These types of exercises are important for developing naturalistic acting, where the actor learns to respond with real emotion, to the given stimuli.
I respect Joan's brutality and how she was able to get the best out of the actors through her techniques. She was able to break down the actors insecurities and encourage them to give a full performance. She helped them realise that their job is to reveal themselves to the world and her tactics encouraged them to perform without fear.
Jacques Lecoq
Lecoq was originally of a sporting background and spent his early years developing as an athlete and participating in a number of different sports. Due to the influence of sports coaches and practitioners who had brought together sporting performance and artistic performance, such as Copeau, Lecoq eventually broke away from sport and into performing arts. Lecoq was most interested in Commedia Dell’arte and Mime, and started to work in Commedia troupes in France and Italy, before returning to France to start his own school. On the surface, the performance style would somewhat resemble Commedia Dell’arte, but focused on clown characters. The performance was physical, but unlike Commedia, a narrative would be spoken during the performance.
Via Negativa. Lecoq would be critical of the weak areas of a student’s performance. This would be their weakest skills or the weakest section when performed. Lecoq encouraged the students, not by directly telling them, but by encouraging self-exploration and discovery. He used techniques such as being highly critical or creating an urgency within the students. The students would be given the freedom to come to their own conclusion and work towards improving their performance via discovery. Lecoq did not want to teach the students a pre-determined set of skills, instead focused on nurturing their creativity and imagination.
Mask Work. Due to Lecoq experience with Commedia and Mime, he was fascinated by the use of mask and how they can help the performer overcome mental barriers. Lecoq used a number of different masks with each masks having different characteristics or used at different levels of training.
Neutral Mask: The beginners mask. The natural mask had no particular expression. The mask was used to help actors overcome inhibitions. Due to a mask hiding facial expressions, it also encouraged the performer to become focus on their body actions and movements, thus increasing their body awareness.
Commedia: Masks from Commedia representing the varying characters of commedia.
Larval Mask: The larval mask is a neutral masked that is used when a performer is being encouraged to break free from realism and to create new a unique performance based on the imagination.
Expressive Mask: The expressive masks portrayed a particular character displaying a specific emotion such as anger. Expressive Masks were used when scenes involved some form of conflict.
Half Masks: Half Masks are considered more advanced and were focused on the development of the voice through mask work.
Clown Nose: The clown nose is considered the smallest and most challenging mask. It is also a neutral mask that allows creative freedom. The clown nose mask exercises were used to encourage the performers to develop their own personal and unique clown characters.
Three important aspects of Lecoq’s Practice that is characteristic of Devising and Physical theatre are as follows.
1. Playfulness (Le Jeu) - To play as characters and explore the stage space.
2. Togetherness (Complicite) - Working as a team, a collective of actors, each a part of the whole. The audience/actor relationship and the connection to the stimuli.
3. Openness (disponibilite): Open minded, open imagination. Open to stimuli and to be responsive and responsive to audience reactions.
Lecoqs main technique that is often used to devise or work on refining physical movement is known as the Seven Levels of Tension.
Exhausted or catatonic. The Jellyfish
Laid back – the “Californian” (soap opera)
Neutral or the “Economic” (contemporary dance)
Alert or Curious (farce)
Suspense or the Reactive (19th century melodrama)
Passionate (opera)
Tragic (end of King Lear when Lear is holding Cordelia in his arms)
The technique focuses on tension and the scales of tension from the extreme, catatonic, to tragic. The scales were used to refine movement, with each scale being a slight and subtle change over the previous and next scales in tension. Not only is this useful for refining movement, it also provides a baseline for performance. It was also important for breaking down inhibitions, with levels such as Passionate and Tragic requiring greater levels of energy and expression. The seven levels of tension have been adopted and adapted by modern devising practitioners, particularly Theatre de Complicate, with director Simon McBurney and other founding members, previously being a student of Lecoq.
I am inspired by Lecoq due to his background in sport. In my youth I took part in many different sports and have experience with techniques such as cardio fitness, weight training, yoga and Pilates. This has possibly shaped my physique to create someone who is capable of performing in physical theatre. I may be able to bring in my experience in sport and fitness to improve my self physically or assist in exercise workshops for actors. I am also intrigued by the mask workshop and would like to explore this more in future.
Frantic Assembly:
Frantic Assembly were formed in 1994. They company was formed to create unique and unrealistic performances. Frantic Assembly is a physical theatre company, who uses various techniques such as touches to develop performances. Although the performance is physically heavy, the performance aims to communicate and convey a story. Scott Graham runs workshops are mostly based on touch and flying exercises. The exercises revolve around using touch as a stimuli. An example of an exercise would be 'around by through'. This involves going around and through another performer. This could literally mean walking around someone. By through, could be to go under their arm. I enjoyed watching the workshop videos such as the touch and flying workshops. I was able to use the touch workshop in my own workshop at college. Frantic Assembly also work with young men from any background, often without any performance background. Not only are the workshops useful for developing devising and movement techniques, workshops can used to help them overcome social difficulties such is touching issues. The performances are extremely physical and aims to make full use of the dance space. An example of there performance would use floors and surfaces that are illuminated with the same pattern. When combined with flying style movements, it allows the performers to apparently defy the laws of gravity.
Frantic assembly have already influenced and inspired me. I appreciate their techniques because they are useful for developing intimacy between the performers, allowing them to overcome issues with contact. I also appreciate their flying techniques and how they have been utilized in a performance.
DV8:
DV8 (Dance Video 8) were formed in 1986 by Lloyd Newson, and are a physical theatre company who focus on communicating socio-political issues through performance. DV8 style is mostly focused towards dance style and will often use music to accompany a performance. However, they believe dance has its limitations and therefore push the boundaries of the performance beyond dance into the realms of physical theatre. This allows them the freedom to express the message, the stimuli, desired in the performance.
DV8 are focused on key issue such as disabilities, sexuality, gender stereotypes, relationship issues and social alienation. Their performances may be based on a stimuli such as a physical disability and the performance devises a performance in order to communicate a message raising awareness of the lives of people in fringe areas of society. Often, there may be performers are are affected by the particular issue, such as the performers used in 'The Cost of Living'. Due to their principles, DV8 are also focused on accessibility and making their performances available to a wider audience. Their performances are filmed and made available virtually so people who are interested in exploring their material are able to do so online.
All DV8 performances are devised pieces. Often the performances stimuli may be a narrative, or background story for the performers to use as a source. The narrative will based around the stimuli or issue are raising. The actors will devise the performance with the use of dance like movements.
DV8 value artistic expression over financial gain. They wish to convey a message and also break conventions in dance style. They use performers that are not typical performers, even possibly people with real life issues.
I appreciated the form of DV8's work and how they were able to explore emotions and personal issues through simplistic but surrealist scenes and a small number of performers. The scenes are performed in a dance like manner and make use of common props. I was able to connect to their performance and felt this a style I would like to explore further in future.
Théâtre de Complicité.
Complicité were formed in 1983 by 4 performers, 3 of whom had been students of Lecoq. Therefore, the company is heavily influenced by Lecoq. Original founder Simon McBurney who is now artistic director of Complicité, was also influenced by pantomime and world theatre styles. McBurney is also influenced by 'life theatre'. Many events in life are like theatre. Protests for example are like theatre, but also events such as sports games, weddings, funerals and dinner parties. He was influenced by pantomimes use of the dame and the relationship the character has with the audience. The dame is a female character played by a male actor, thus breaking gender stereotype. Some of the fundamental issues that the company have used as stimuli in their performances are breaking gender stereotypes, apartheid, plastic waste and deforestation.
Complicité can mean complicit, or as Lecoq used the term, togetherness. Complicité refers to the relationship between the audience and the performers, but also the relationship to the subject material. If the performance is raising a global issue such as deforestation, then we are all complicit. Through the performance, Complicité aim to raise awareness of the issue and induce a response within the audience.
Complicité uses a process of collectivism during their production. All members from actors to director, to script writers provide into into the performance. The performances are often devised and in the style of Commedia or comedy. However, the company has evolved to now also adapt original classics using their performance style.
Due to the influence of Lecoq, the 7 Levels of Tension is the most utilized technique for devising. The technique allows a scene to be changed by changing the tension of 1 or more characters. The technique may also be used by creating an imagined scene such as watching a football match and the actors respond to the scene using the various scales. Due to the style of performance, the actors would be trained in space awareness. Actors would be required to squeeze into an area such as a small square and then asked to perform elaborate scenes. This enhances team work, imagination but also trains the responsiveness and reactions of the actor.
The performances combine the skills and style of Lecoq with the use of modern technology. Complicité will make use of Lighting, Sound, Music and Stage FX in order to enhance the performance. For example lighting FX can be used to fill a space making the performer appear as they are floating in a void. Lighting used to set the space on the stage, reducing the space to that only surrounding the performers. This reduces the need for elaborate scenery and setting, drawing the focus on the actors and the message.
Knee High Theatre
Knee High were a company formed in 1980 by Mike Sheppard. Based in Cornwall, they were focused on devising pieces based around traditional Cornish stories and to raise awareness of issues relevant to Cornwall. With this, they looked to make use of local talent, many of the actors having a job outside of performance. They wanted to create performances that would become part of establishing a unique Cornish identity. Influenced by Commedia Dell'arte, the performance style is very acrobatic and dance like. Each production is devised by a collaboration between performers and crew members. Each person is able to offer their own insight into the performance. The director takes responsibility for driving the project, but script and story is devised by the collaborative effort.
They did not to use a typical stage and often would use scenery pieces or shaped stages that acted like a ships deck or alternative space. Due to their location, Knee High also liked to make use of the natural environment such as the rugged coastline, woodlands and quarries. A typical Knee High production would be set in a Barn location. The stage would not be a typical flat surface, it would have many layers, objects, poles or ropes for the actors to climb, jump and swing from. Scenes in the performances can be set on different stages, in different areas. The audience can become immersed in the performance as the actors lead them between the scenes. Engaging closely with the audience is important for creating instant reactions and for encouraging responsiveness between the actors and audience. The performances are always anti violence and the message is seen as more important than entertainment value.
I have been influenced by Knee High Theatres use of alternative venues and stages. They like to make use of natural venues and devise performances around the venue. This approach can be used for devising performances even if a troupe does not have access to a theatre or want to make use of natural scenery to compliment a story.
Examples of Devised Theatre pieces
Devising theatre can be used to explore social political issues are raise awareness of hot topics. As theatre productions are built from scratch, any topic can be used as a stimulus for the story. There are no restrictions on the style used in Devised theatre so any techniques can be harnessed for exploring and communicating a message.
Addiction
When I was at primary school, there was a troupe that visited the school to give a performance. The stimuli for the performance revolved around drug addiction and primary addiction to heroine. This was during the 90's where heroine addiction had been problematic in my area and it provided me with an awareness of the issue. As I had seen documentaries on the subject, I was also able to ask questions of the actors to get more information regarding the subject. I also sensed that the performers cared deeply on the issue and wanted to help people with addiction. Some of the performers had been affected by addiction in their lives, either they had been addicted, or had been close to someone with a drug addiction. Their awareness of the issue was therefore also personal and relative to their real lives.
Oh! What A Lovely War
Oh! What A Lovely War is a play directed by Joan Littlewood. The play is used to highlight to atrocities of war which was recent memory to those who lived during the era. The characters are mostly dressed in military uniforms. The scenes mostly show ruins or battlefields. However, the performance is mostly musical. Throughout the play, the performers sing the story, such as letters from soldiers and descriptions of the scene. The songs and acting were often nonsensical. The performers would dance and act out scenes similar to kids playing in a school yard. Props such as guns, were replaced by non offensive versions such as walking sticks. This was done as it helps remove violence from the performance. Although the performance is mostly comedic, it is deep and shares details of war that are emotive such as the soldiers letters. From an audience perspective, the performance makes me compare war to children's playground games. The problem is, the toys are real guns, and the soldiers are pawns in the games of the powers that be. If you explore the history of the build up to 'The Great War' (WW1), it was literally the case of the Emperors of Europe playing out their child hood games in real life.
The Cost of Living
DV8's 'The Cost of Living', is a performance that comes with a social political theme, in this case, the cost of living. This is an interpretative art piece and could have several meanings. The main message of the film refers to people living with disabilities and people living on the fringe of society. There is a performer who is a double amputee. The performance shows some of the struggles and techniques a disabled person needs to use to overcome life challenges. Part of the performance shows a scene where the disabled actor leaves the home and moves in a dance like manner. A chorus of performers follow him, mimicking his movements. Not only does this show the challenges of disabilities, the performance is inclusive and makes the disabled actor central to the performance The performance also explores breaking down of gender stereotypes. Even though we associate certain hobbies and interests as masculine or feminine, this is only our opinion. It is acceptable for men and women to partake in hobbies and interests that are not associated with there gender.
The Neon Shadow:
The Neon Shadow was produced by Knee High theatre The performance explores isolation. The style is similar to a music video. Throughout the story, the performer plays out the actions of someone suffering from the effects of isolation. The range of emotions explored include loneliness, insanity, anxiety, spontaneity and love. The movement is performed in a dance like manner. The performer interacts with props in the room such as bedding and the walls. The scene hints at the outside world, but mostly focus on the behaviour of the performer. Throughout the performance, the music changes and this also is reflected by the the performers movements. The room appears to be made out of paper, and everything is else is white. This adds to the insanity effect of the performance. At the end, after dealing with the varying emotions, the character breaks free and enters the real world. I found I could connect to this piece due to emotions such as anxiety and isolation is explores. I also found that some of the behaviours in isolation are similar to mine, such as using dance to exercise and remain positive, or simply using the space to practice. The ability to express themes in this style is something I would like to explore further. I am naturally physically expressive and if I am able to connect to this, people who are similar could find the same connection. The style is also able to express deep and intense emotions, without it become to extreme for a ranged audience. This style may be useful for example, conveying anger to a young audience.
Devising theatre can be a very powerful communication tool, even more so than larger productions, even TV and Film. Many performances outside of devising, are largely focused on entertainment or telling a typical story. The story does not have to have any meaning or produced to influence people, but is instead an escape for the audience. Devising theatre is mostly focused on communicating a message to the audience. There are many issues in the world, both those that are global or national issues, but also personal issues. This is where devising theatre can be a its most effective. A performance can be created around a particular stimuli such as mental illness, disabilities, drug addiction or community hazards. As these performances are often commissioned, the performance is developed (devised) for a particular audience. The performances are often commissioned by schools or other organizations to raise aware around a particular issue that may be relevant to the students. The audience is therefore more likely to be able to connect to the message of the performance on a personal level. An effective performance is more likely to invoke a meaningful reaction from members of the audience. It could make someone more motivated and want help with the cause that is being promoted. An individual may connect in a way where they can relate to the performance, that may help them with issues such as loneliness. The more personal and specific the stimuli to the audience, the greater the emotional response. So although productions may entertain thousands or even millions of people, devising theatre has the power to connect to someone on a personal level and invoke meaningful emotions and responses. As the performances are often more intimate, there is also opportunity to interact with the audience outside of the performance. To gather the opinions of the topics raised and how the performance made them feel. This is important when discussing sensitive issues, as they need to be conveyed in a tasteful manner. It is also important to understand if the audience has an understanding of the message. If a performance is being used to raise awareness of specific issue, are the audience aware of this? If they relate to the issue, are they also able to relate to the performance? This is why is think Devised theatre is more powerful than other platforms, because of the ability to help someone on a personal level, the performer has opportunity to form a meaningful relationship with the audience.
Unit 20 Task 1B - The process of devising + Techniques used
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