Physical theatre practitioners Techniques

To improve the quality of the physical theatre, the practitioner should focus on putting the body at the centre of the performance. The movement and the gestures employed in the performance matches with the style of the piece. The practitioners consider using body movement with minimal dialogues have high chances of delivering a better physical theatre performance. In this paper, I will analyse different performance techniques by different practitioners, their pros and cons and then draw an effective conclusion from the analysis. My piece was influenced by the DV8 physical theatre company. The company refers to the historical the historical theatre performances and works. They then analyse the data obtained to undertake the necessary improvements. The company mainly strategizes on the dance, sound, video and drama genres.

This form helps in catching the attention of the target audience. They use this opportunity to explore complex aspects of the human life, behaviour, cultural values and other social factors. The company creates new work and performance methods by evaluating a different work devising methods. At first, the company used to obtain inspiration from the DV8. Every part of their performance seemed to resemble the DV8 work. The company later decided to be different with the DV8 group. The desire to bring something motivated them to develop text in the in the physical theatre. In this case, the draft of the script is prepared using the writer's own ideas, imagination or conversations. The team members the communicate the effective techniques to use and the issues that the script intends to cover.

The team likes to test new ideas in order to see the possible outcome. The team also generates a lot of ideas, tests some and keeps others to test later. Their performance is broken down into manageable tasks. This is because, not only the music facilitates generation of new ideas, but also contributes to the creation of effective movement. It helps the team members to understand the performance easily and communicate well with the other members. Music contributes a lot to the quality of their performance. The music acts as a source of inspiration to the team. The other critical form of the Frantic physical theatre is the design. They rehearse effectively to ensure that the texts fit well in the scripts.

Sometimes the texts are complex to incorporate into the play. The team members discuss, share and create new ideas on how to use the texts in their performance. The texts improve the quality of the physical theatre. The style of the performance of the Frantic company is unique. He believed that the actors were supposed to be trained for a long time to improve their skills. The training would improve their performance capabilities and there would be minimal mistakes. He argued that the actors would understand their performance roles effectively. The actors would gain more expertise after a long duration of training. This would help in mentoring the young actors. He discouraged the incorporation of the special effects in the performance such as the setting and the lighting.

He suggested that the actors were supposed to be given full control of their bodies. His main aim was to facilitate rehearsal without the use of any special aids. He wanted the actors to be strong both physically and mentally. They would, therefore, participate in the play and ensure that they engage the audience effectively. She is the Artistic Director in the SITI company, Japan. Anne Bogart adapted the technique of viewpoints in the stage. The viewpoints encouraged the actor or performer to use both the body and space to develop a meaning. She claimed that the viewpoints were the things that the actor should be aware of while acting. The enable the actor to think effectively while making gestures or movement.

She claimed that the actors are supposed to be aware of the object around because they affect their movement. Topography. The actors should have the imagined lines on the stage that determine their movement. Repetition. She emphasized that the actors should consider repeating the critical points in the stage. To ensure there were no lies, Stanislavski argues, that the actors should conduct research prior to acting. This would help them in understanding their roles. He claimed that the research would help the actors to answer any questions directed to them by the audience. He encouraged the strategy known as Magic If which helped the actor to predict his reaction to certain conditions. Stanislavski introduced the aspect of emotional memory. The main intention of the Frantic company was the use of text and this made them unique from the DV8 physical theatre.