Theorists to think about -Ways to prepare- Movement Ms Leah Stewart Unit 3A/B Drama Year 12

Jerzy Grotowski Born 1933 Poland. Died 1999 Italy

Jerzy Grotowski  One of the leading members of the Expressionist theatre movement.  Expressionism - As opposed to having the primary aim of creating theatre to educate (like Brecht), to entertain (like Commedia dell'arte), or to be realistic (like Stanislavski); expressionistic theatre's main aim is to express emotion. BrechtCommedia dell'arte StanislavskiBrechtCommedia dell'arte Stanislavski  Expressionistic theatre is different from realism - actors will behave how most people wouldn't in real life, their physical and vocal qualities exaggerating their emotions; sets designs will be exaggerated to emphasise the tone of the setting realismvocalsets designstonesettingrealismvocalsets designstonesetting  His work influenced those wishing to change theatre.  Developer of Poor theatre

Jerzy Grotowski – Laboratory theatre  Not an actual theatre, although it became the title of a theatre in 1971 (Thirteen Row Theatre in Opole)  Institute that focused on the actor and the movement.  In the 60’s and 70’s the ensemble toured the world showing the new ideas of theatre interpretation – breaking down the barrier between audience and actor.  Purpose was to question the nature of theatre.

The actor's first duty is to grasp the fact that nobody here wants to give him anything; instead they plan to take a lot from him, to take away that to which he is usually very attached: his resistance, reticence, his inclination to hide behind masks, his half-heartedness, the obstacles his body places in the way of his creative act, his habits and even his usual "good manners". Jerzy Grotowski’s 9 th principle.

Poor Theatre  Probably where Jerzy Grotowski is best known.  Poor theatre is not a theatre form or style, it is a method and methodology of actor preparation – like Stanislavski’s system (style Realism)  Wanted there to be a shift from theatre as a competitor and return it to simple roots – actor + audience.

Poor Theatre  Actors trained very rigorously and were put through very physical activities to gain total control.  Grotowski stripped away anything that was not necessary in the preparation of a performance – rehearsal blacks were worn, sets were taken away so the focus was on the actor not the ‘image’.  Poor theatre is about elimination – learn by eliminating the barriers to learning, produce art by eliminating unnecessary things, engage audience by eliminating social taboo.

Poor Theatre  Grotowski believed that a highly trained actor was sacred.  One of the key figures in developing political theatre in the 20 th century – political and social themes in productions.  There are 10 principles for actors to follow in Grotowski’s actor preparation.  Grotowski eventually ended up being propositioned by some of the most prominent companies. He refused.

Poor Theatre Grotowski’s aims.  Eliminate, not teach something (Via Negativa).  Enhance that which already exists.  Create all that is needed for the play in the actor's body, with little use of props.  Promote rigorous physical and vocal training of actors  Avoid the beautiful if it does not foster truth

Change focus.

Movement Theory Meyerhold and Laban (remember him???)

Vsevolod Meyerhold  Developer of Biomechanics – for dance and theatre training during the 20’s and 30’s.  Forced underground after Meyerholds execution, emerging semi-secretly in the 70’s.  Biomechanics links "purely" physical training and the application of that physical work to concerns specific to acting.

Meyerhold’s Biomechanics  Begins with physical training designed to hone the actors physical instrument.  Each activity requires the actor in training to have a relationship to the space they are in, the actors in their troupe and their own ‘inner’.  Exercises are designed to expand and deepen the actors awareness of what the body is capable of. Assists with creating role.  If the tip of the nose works, the whole body works." V. E. Meyerhold

Meyerhold’s Biomechanics  VOCABULARY OF MOVEMENT begins with Excitability.  Excitability Excitability is the ability to realize in feeling, movements and words a task which is prescribed externally.  The coordinated manifistations of excitability together constitute the actor's performance. Each separate manifistation comprises an acting cycle. Each acting cycle comprises three invariable stages:  1. INTENTION 2. REALIZATION 3. REACTION

Rudolph Laban  Laban Movement analysis is a way of classifying and talking about movement.  Very useful in character development and creation – helps to create justification for movement.  Widely used by dancers, athletes, actors, physical therapists and, believe it or not, animation and robotics specialists.

Effort Eight combinations of space, weight and time are – Float, Punch, Glide, Slash, Dab, Wring, Flick and Press. All movement can fall into these categories or Efforts.

Shape  Modes of shape change are – Shape Flow (relationship of body to itself), Directional (body is directed to an environment – spoke like and arc like), Carving (relationship where body is 3dimensionally interacting with an environment – miming an imaginary object, wringing a towel, kneading bread dough)  Shape quality describes the way the body changes toward a point in environment - Opening (growing larger with more extension) or Closing (growing smaller with more flexion).  Shape flow support – how the torso changes to support the movements.

Space  Connection with the environment  Kinesphere: the area that the body is moving within and how the mover is paying attention to it.  Spatial Intention: the directions or points in space that the mover is identifying or using.  Geometrical observations of where the movement is being done, in terms of emphasis of directions, places in space, planar movement, etc.

…to think about.  Keep thinking about different approaches to theatre and how they are useful to you.  We are considering different ways of moving and how these are relevant to you  Use these approaches to give direction to your performance movement but also consider their approaches when writing exam responses i.e. the justification of movement.  These theorists can inspire you in your solo creation but can also be used as prep in your practical exam (great for answering questions!)

References   a-%27poor%27-theatre.html a-%27poor%27-theatre.html a-%27poor%27-theatre.html      is.muni.cz/el/1421/jaro2008/DVT058/Mejerchold.doc?fakulta=1 421;obdobi=3704;kod=DVT058    Analysis

Ms Leah Stewart Tel This resource will be on Moodle soon. (Once I can add you all.)