Physical theatre: Research for solo performance

physical theatre“… provoke the imagination of the spectators, rather than furnishing the stage with literal replications of life”(Callery 2001, p5).

 

Before becoming arguably one of the most influential directors and teachers of physical theatre, Jacques Lecoq began taking an interest in sport from a young age. He “…retained an interest in the way athletes effectively organise and use their bodies” (Murray 2007, p7). By incorporating the sportsman’s agility and physical awareness to the performer’s movement, Lecoq encouraged athleticism within his actors. He believed that gymnastic movements on an athlete had “…a profound effect on him, an effect that was emotional as well as intellectual or physical (Evans 2012, p164). I also aim to, in my performance, to give the spectators a chance to use their imagination as well as connect with the piece.

Works cited

Rhythm O (1974) by Marina Abromović

Rhythm O (1974) by Marina Abromović is an extreme example of the use of the spectator-performer, as without it, there would be no performance. During this piece Abromović placed seventy-two objects including: a gun, feathers, scissors, pens and an axe, in a room for six hours with the audience, leaving herself at “…their mercy…to be used on her as they wished2 (Freshwater, 2009, 62). This type of performance places many hazards for the performer as they are no longer in control of the performance and the spectator is able to develop their own ownership of the piece. Helen Freshwater explains in her book, Theatre and Audience, how this can affect the performance: “…breaking conventional performer/audience boundaries can produce exciting, unexpected outcomes, but it can also expose the performer to uncontrollable risks.” (2009, 13)

I extremely like the concept that the performer can have one effect on a specific member of the audience (the performer-spectator), as well as the surrounding audience in the museum.

Works Cited