What is physical theatre?
In trying to find an exact definition of what exactly is physical theatre, one may stumble and realize that almost all of theatre is physical as theatre is the actor and the actor is a body “the ‘physical’ in physical theatre is redundant excess since all theatrical performance is an embodied activity. We witness live bodies on stage, and as spectators we invest every performer’s action, gesture and spoken word – whether intentional or uncontrolled – with significance and meaning.” (Murray & Keefe 2007: p.4)
More often, physical theatre is also compared and becomes total theatre. In order to maintain a balance in this form of art, light, sound and images are used as in any performance along with the actual physicality of the piece. Murray and Keefe further expend on this in their book: “As such, ‘physical theatre’ is a construction of forms, beliefs and dispositions which takes its place alongside other and continuing suspicions of the word as the embodiment of Enlightenment reason, preferring what at its most extreme is an atavistic reifying of a mystifying instinct and a romanticised natural.” (2007: p.7)
As physical theatre has gained in popularity in the last few years reaching a sort of peak in the more recent times, its definition became vague. Contemporary theatre often gets mistaken with it and replaces the whole notion. However, physical theatre remains the same at heart, a combination of movement, dance and spoken word in which the actor’s body is highlighted predominantly in order to create a piece of performance.
Murray and Keefe also reflect on the popularity of physical theatre in their book saying: “To be ‘physical’ in theatre is apparently to be progressive, fresh, cutting edge and risky, while at the same time it is a distancing strategy from a range of theatre practices that are perceived in Peter Brook’s phrase to be ‘deadly’, outmoded and laboriously word based. To be physical is to be sexy and to resist the dead hand of an overly intellectual or cerebral approach to theatre making.” (2007: p.13)
In conclusion, physicality is a part of every theatre making but physical theatre is a revolutionary approach that combines all the elements towards creating a piece of art that concentrates on the ability and beauty of the human body.
In trying to find an exact definition of what exactly is physical theatre, one may stumble and realize that almost all of theatre is physical as theatre is the actor and the actor is a body “the ‘physical’ in physical theatre is redundant excess since all theatrical performance is an embodied activity. We witness live bodies on stage, and as spectators we invest every performer’s action, gesture and spoken word – whether intentional or uncontrolled – with significance and meaning.” (Murray & Keefe 2007: p.4)
More often, physical theatre is also compared and becomes total theatre. In order to maintain a balance in this form of art, light, sound and images are used as in any performance along with the actual physicality of the piece. Murray and Keefe further expend on this in their book: “As such, ‘physical theatre’ is a construction of forms, beliefs and dispositions which takes its place alongside other and continuing suspicions of the word as the embodiment of Enlightenment reason, preferring what at its most extreme is an atavistic reifying of a mystifying instinct and a romanticised natural.” (2007: p.7)
As physical theatre has gained in popularity in the last few years reaching a sort of peak in the more recent times, its definition became vague. Contemporary theatre often gets mistaken with it and replaces the whole notion. However, physical theatre remains the same at heart, a combination of movement, dance and spoken word in which the actor’s body is highlighted predominantly in order to create a piece of performance.
Murray and Keefe also reflect on the popularity of physical theatre in their book saying: “To be ‘physical’ in theatre is apparently to be progressive, fresh, cutting edge and risky, while at the same time it is a distancing strategy from a range of theatre practices that are perceived in Peter Brook’s phrase to be ‘deadly’, outmoded and laboriously word based. To be physical is to be sexy and to resist the dead hand of an overly intellectual or cerebral approach to theatre making.” (2007: p.13)
In conclusion, physicality is a part of every theatre making but physical theatre is a revolutionary approach that combines all the elements towards creating a piece of art that concentrates on the ability and beauty of the human body.
By Nicole Roman.