PERF06042 2013 Physical Theatre
Physical Theatre introduces students to the physical work of the actor and the world of professional, specialised actor training. Predominately practical in nature, it challenges the student to adopt the body as their sole means of expression thereby heightening awareness of the need to train the body and regard it as a powerful and under-utilised tool of the contemporary actor.
On completion of this module the learner will/should be able to;
use the body as a mode of expression and a starting point toward its mastery in performance
develop physical control in physical performance through such techniques as rhythm, body articulation, flexibility, strength, co-ordination, balance, discipline, playfulness, spontaneity, precision and imagination
experience a style of theatre that places the actor as the central point for theatrical creation where the primary focus is physical rather than textual
Understand the importance of the physicality of the actor in the creation of visual, metaphorical theatre
work as an ensemble, creating both solo and group compositions
understand the professionalism and dedication required of the professional actor
identify the roots of physical theatre and its place in the world of theatre
What is Physical Theatre?
Where did the term Physical Theatre originate? What are the limitations of the term?
Twentieth Century Masters such as Decroux, Meyerhold and Grotowski will be explored in an effort to learn how their actor training systems have shaped our theatrical heritage.
Decroux's corporeal mime used as a physical reference point for other training systems; their aims, processes and the discipline required in any specialised training.
Professionalism and training as an on-going feature of an acting career.
Coursework & Assessment Breakdown
|Title||Type||Form||Percent||Week||Learning Outcomes Assessed|
|1||Group Project Composition||Continuous Assessment||UNKNOWN||40 %||OnGoing||1,2,3,4,5,6,7|
|2||Individual Project Log Book||Continuous Assessment||UNKNOWN||40 %||OnGoing||1,2,3,4,5,6,7|
|3||Individual Project Written Assignment||Continuous Assessment||UNKNOWN||20 %||OnGoing||1,2,3,4,5,6,7|
Full Time Mode Workload
|Practical||Black Box||Workshops and tutorials||3||Weekly||3.00|
Decroux, E. (trans. Piper, M.) Words on Mime, (California: Pomona College Theatre Dept. 1985)
Physical Theatres: A Critical Introduction by Simon Murray and John Keefe, (London: Routledge, 2007)
Physical Theatres: A Critical Reader by Simon Murray and John Keefe, (London: Routledge, 2007)
Bicat, Tina and Baldwin, Chris (eds.), Devised and Collaborative Theatre: A Practical Guide, (Wiltshire: Crowood Press, 2002)
Callery,Dymphna, Through the Body: A Practical Guide to Physical Theatre, (London:Nick Hern books, 2001)
Murray, Simon, Jacques LeCoq, (London: Routledge, 2003)
Mackey, Sally (ed.), Practical Theatre: A Post-16 Response, (London: Routledge, 1997)
Braun, Edward, Meyerhold on Theatre , (University of Iowa Press, 1998)
Kumiega, Jennifer, The Theatre of Grotowski, (London: Metheun, 1985)
Richards, Thomas, At Work with Grotowski on Physical Actions, (London: Routledge 1995)
Dennis, Anne, The Articulate Body: The Physical Training of the Actor, (UK: Nick Hern, 2002)
Artaud, A. (trans. Corti V) The theatre and its double, (London: Calder. 1993)Barba, E. Savarese, N. (trans. Fowler, R.) A dictionary of theatre anthropology: the secret art of the performer, (London: New York) Published for the Centre for Performance Research, (London: Routledge. 1991)
Craig, E. G. (ed. Walton J.) Craig on Theatre, (London: Eyre Methuen. 1983)
Grotowski, J. Towards a poor theatre, (London: Methuen. 1991)
Hodge, A. Twentieth century actor training, (London: Routledge, 2000)
Huxley, M. Witts, N. Twentieth-Century Performance Reader, (London: Routledge. 1996)
Leabhart, T (ed.) Mime Journal Series, (California: Pomona College Theatre Dept. 1974)
Wlodek, S. (trans. ed. Braun, E) Meyerhold on theatre, (London: Eyre Methuen.1978)
Zarrilli, P. Acting (re)considered: theories and practices, (London: Routledge, 1995)