Physical Theatre Performance Analysation free essay sample

Audiences today want a real experience in their live performance, because they can get great script based entertainment at home, through various new media sources. Traditional theatre, which appeals on a mental, and hopefully also emotional level, has not been enough to compete with other media, and audiences have been declining. Physical theatre, by contrast appeals to the audience on a physical and emotional level, providing a much more immediate experience than traditional theatre † (Artmedia Publishing in Zen Zen Zos The Tempest Teachers Notes) Then you realise that theatre is a more personal experience. (Stephen Atkins, Dantes Inferno Director) After viewing Zen Zen Zos physical theatre reincarnation of the philosophical poem, Inferno by Dante Alighieri , it was clear that the combinations of various dramatic languages ultimately enhanced both the mood and symbolism of this live performance. These dramatic languages include the utilisation and management of physical composition, complicitГ ©, space, language and movement dramatic languages to create and enhance both mood and symbol. This particular performance guided the audience through the literature to experience the different stages of purgatory performed at the Old Museum. This successfully provided both the audience and the cast with intimate theatre experiences. In order to successfully achieve a powerful performance and obtain this experience, physical composition was clearly utilised. In Dantes Inferno, the manipulation and management of physical composition, particularly in the development of this production, provided the audience with an intimate experience. Physical composition refers to the way in which someone or something is composed. Zen Zen Zo has excelled in this dramatic language, particularly through the use of music, movement and drama. To achieve physical omposition, the ensemble must recognise and maintain spatial relationships with the architecture, kinaesthetic response, tempo, repetition and sensitivity to the dramatic manipulation of both space and time. The spatial relationships between the actors of Zen Zen Zo and the architecture of the Old Museum were managed to allow the audience to feel the intimacy of the actors in any particular scene. Humor was a key component in not only providing a contrast to the mood of the performance, but also in enhancing the composition of Dantes Inferno. In particular, humor was demonstrated through the comic relief tour uides, and in the lustful level of purgatory. The two tour guides comic relief composition created a strong contrast in comparison to the disturbing ensemble members of the production. Another element which assisted in creating a contrast was the Cabaret style song and dance provided in the lustful circle. This Joyous song created not only a strong contrast to the other ensemble members of hell, but also contrasted against the literature of Dantes Inferno where the lustful are sentenced for their souls to be blown around in a violent storm needlessly and aimlessly, as lust nas the power tor ones desire to sway their reason. In the Zen Zen Zo version however, the ensemble are dancing and singing in cabaret. They are still aimlessly moving without reason, but it is interpreted in a humorous way, especially in contrast to the other levels of hell. These two compositions of humor, aid in enhancing both mood and symbol through contrasting elements, ambiance, and physicalisation. Another component of physical composition used was surprise entrances. The use of surprise entrances provided a contemporary experience when the gluttonous circle of devil-like ensemble members appeared from behind the audience, attacking the comic relief tour guides. Not only did this provide a strong contrast between the solemn actors of the heretic circle and the animal-like, blood thirsty ensemble, but the surprise entrance provided the audience with a disturbing mood. The use of physicalisation of the ensemble involved the audience members by invading their comfort zones and taking away their tour guides, their only source of escape. The audience then became lost and frightened as there were no signs leading them to their next destination, once again forcing them to partake in the performance. This physicalisation not only successfully involved the ontemporary audience, but demonstrated the necessity of physical composition to give audiences that real experience. This use of physical composition provided immediate reaction and emotional expression through action and contrast. These elements ultimately enhanced the mood and symbolism of the performance, allowing audiences to not only partake in the production on an intimate level but also on an emotional level. Another way in which mood and symbol can be created is through the use of complicitГ ©. Another element used to enhance the physical theatre experience is complicitГ ©. This dramatic language refers to the use of an ensemble. In Dantes Inferno the benefit of an ensemble is demonstrated throughout the whole course of the production as it provided bigger representations and enhanced the powerful concepts. In particular, the Molent circle representing murder, death and the element of fire, excelled in the utilisation of an ensemble. The audience were guided into a large hall where approximately thirty ensemble members were positioned around the architecture. The ensemble worked together, manipulating their bodies into unnatural, unsettling postures. Through precise choreography, the ensemble rovided an explosive, demonic re-enactment of the torture inflicted upon their bodies for their violent crimes. The ensemble then forced out the words of the original literature, in a manner which demonstrated the pain and suffering which they have endured. The precise body language and synchronisation of movement and vocals demonstrated Greek chorus. Another example of complicitГ © was demonstrated in the obsession circle. This contemporary re-enactment of Dantes inferno had a strong reliance on the ensemble. Each ensemble member moved firstly in time with the fast moving beat of the slapstick. The mechanical synchronisation was proven successful and the ensemble worked together to enthral the audience. The ensemble later moved in slow motion, yet still remained in time with one another, once again captivating the audience. This stage in hell symbolised those individuals who fake happiness in their everyday lives. The choreography of the ensemble in botn scenes was pertected through a combination ot acrobalance, Suzuki dance techniques and Butoh dance theatre. This technique proved successful in invoking the audience to connect with the mood of the production. Zen Zen Zo has strong emphasis on the ensemble working together. (Performer, James Casey) In this production, ComplicitГ © was used effectively, especially in combination to the space and architecture of the Old Museum. Space is a key essential in relation to physical theatre. This dramatic language refers to the area which can be occupied in relation to another being or object. The architecture of the Old Museum proved a suitable venue for the audience to view the production in promenade style and become the character o f Dante. When left alone to roam the conical layers of hell, we have the chance to play poet, narrator, and rotagonist, by taking the place of Dante in the original text. (Alison Bare, BrizTix) The audience members were given a map of the performance area to inform them that the production would be utilising space, both interior and exterior. (See Appendix A) Firstly, the audience members were greeted by fortune tellers. The audience were then guided to a large garden where the comic relief tour guides were introduced. Five ensemble members guided the audience into the gates of hell with fiery stakes. These actors chanted abandon all hopes as you enter the gates of hell. Within the first few moments of the production, the audience had already witnessed a vast amount of space. This provided an emotion connection to the character of Dante from the original literature, creating a confused and disturbed mood. The Old Museum allowed the audience to visit the ensemble members across a wide area of space to view the upper levels of hell. This gave the viewers the feeling of being at a zoo, viewing the actors as wild animals. The audience was then manipulated into the interior of the Old Museum, where space was successfully utilised by the actors. The audience were led into a large hall where the Molent circle performed disturbing choreography on the floor and walls of the architecture. This amount of space allowed the actors to utilise the proxemics between each ensemble member. This particular scene provided the audience with the torturous mood and emotion that was present in the actors absurd body movements and expressions. The use of space reinforced both mood and symbolism through the use of elements. The icy cold weather present when outside of the theatre symbolised the element of air, adding an eerie, desolate mood to the performance. The fiery gates of hell and the vicious red lighting symbolised purgatory, and reinforced an angry, demonic mood. The wrathful circle used water as a symbolism of depression and the actors tears of sorrow, perceiving a solemn mood. Finally, the outdoor promenade style of theatre allowed both the actors and audience to feel the element of Earth, creating a mood of isolation and a sense of being lost. These elements along with the effective use of space, contemporised the physical theatre aspect of this production to enhance both mood and symbolism. Alongside space, language is another aspect which ontributed to the involvement of the audience in this physical theatre production. Adapting an epic poem is a matter of reducing the words, while creating visuals, sound and movement that are as potent as what we find in the poem. (Director, Stephen s) Language is a term which reters to the vocals and music within a theatrical production. Dantes Inferno comes as an influence from the renowned poem Inferno written by Dante Alighieri. The literature is filled with a vast amount of metaphors and dramatic imagery demonstrated throughout the Zen Zen Zo production. This medieval styled writing appeals to modern audiences who still ecognise lust, wrath and violence as contemporary issues. This production contemporises the poem to appeal to audiences today, yet still keeps Inferno a powerful literature. This is achieved through the utilisation of contemporary conventions, such as fragmentation and contrast, enhancing both symbol and mood. Through a variety of languages, including the use of body language, body art, music and costume, the Zen Zen Zo company has excelled in this dramatic language. To assist with the elements of drama, colossal scrolls with the appropriate section of Inferno written upon it hung at each stage of hell. These scrolls revert back to the originality of the literature, allowing the ensemble to contemporise the meaning and utilise the convention of intertextuality. Music firstly assisted in this production at the beginning of the performance. The audience were introduced to hells gate which was constructed using five ensemble members, each with a fiery stake at hand. Two more ensemble members emerged playing three eerie chords on violin, providing a terrifying mood to the audience. This live performance technique also enticed the audience adding more physicality to the production. In the lust level of urgatory, the cabaret style song and dance contrasted with the serious mood of the poem. This technique manipulated the intended language of the performance, appealing to the modern day audience. Despite the poem not being read aloud, the body language portrayed in the gluttonous circle was disturbing and demonic and the audience still felt the emotion and power of the literature. The costumes designed were ripped, blood-stained and minimal, symbolising the souls of those who have been refrained to purgatory. The colours used acted as a language technique portraying the nature of the characters. Colours can speak strongly of the way we perceive strength and weakness (Designer, AlanJohn Jones) The costumes of the characters were contemporised to appeal to modern day audiences and act as a language to portray mood and symbolism. Being a 13-century poem of great notoriety and then having to reinterpret that for the modern world within the context of a physical theatre company that doesnt rely on dialogue. A lot of the show will be based on visual cues (Designer, AlanJohn Jones) The language displayed in Dantes Inferno appealed to the audience in a contemporary manner, enhancing the dynamics of physical theatre. Another type of language which assists in enhancing physical theatre is movement. Movement is a form of dramatic language which refers to the physical motions which a person expresses with their body. In Dantes Inferno actors took part in a process called kinaesthetic learning. Students associated with a kinesthetic learning style have realisations through doing, as opposed to having thought first before initiating action, and often experience the strains of unnatural movement. This kinaesthetic style of learning was applied to both Suzuki and Butoh techniques, both prominently used within the Zen Zen Zo company. These training methods allowed the actors ot Dantes Interno to master synchronisation, precise movements and unnatural bodily motions. In the violent circle, the ensemble utilised levels, acrobalance, and precision, creating a powerful and astounding performance. The twisted bodily movements of each actor symbolised the agony and torture inflicted upon the characters in this stage of purgatory. The red lighting and powerful music assisted the ensemble in perfecting movement, a technique mastered through Suzuki training. The mechanical, demented movement and twisted expression of the ctors portrayed a disturbing mood, enticing the audience with its confronting choreography. The actors became one fgure, reaching to the heavens in hope of escape, then discharged outwards and violently pushed their way through the audience. This unbelievable, unnatural scene took the audience out of their comfort zone. The diverse method of this movement piece appealed to this contemporary audience on an emotional and a physical level, compelling energy and a sense of fear from the actors to the audience. This kept the audience both involved and engaged to form a connection and an addiction to the actors. Because Zen Zen Zo engaged the udience so much, the abrupt ending forced the audience to take the lessons and consequences learnt from the performance into the audiences immediate reality. Zen Zen Zos physical theatre reincarnation of the philosophical poem, Inferno, demonstrated that the combinations of dramatic languages created and enhanced both mood and symbol within this live performance. This was achieved through the use of dramatic languages including the utilisation and management of physical composition, complicitГ ©, space, language and movement. Physical composition successfully provided an intimate experience between the actors and the audience. ComplicitГ © was efficiently used allowing the ensemble to create a bigger representation of the original literature, and engaging the audience with unpredictable events and synchronised movements. The space and architecture of the Old Museum provided the ensemble with a variety of different atmospheres to adapt to and engage within. Both the interior and exterior were utilised allowing the audience to Journey through the different stages of purgatory and become the character of Dante. Language in the sense of costume, music and body, became a key essential in this production providing a variety of contrasts setting mood and symbol. In physical theatre, movement is profound by keeping the audience engaged and involved. Dramatic languages combined with music, lighting and movement, effectively created and enhanced mood and symbol. This production proved that Physical theatre appeals to the audience on a physical and emotional level, providing a much more immediate experience than traditional theatre. By tuning into the body, performers are able to find the exact and authentic response to the situation. Then they follow it onto unfettered action, enabling real dramatic truth to manifest itself. That is physical theatre. (Marshall, L. 2002: 33)