Audition: THEA 4351 Physical Theatre | Dance and Theatre

Audition: THEA 4351 Physical Theatre

Event information
Date: 
Wednesday, October 24, 2018 - 5:00pm
Location: 
UNT - RTFP Building - Room 127

PHYSICAL THEATRE - Spring 2019

Meets Wed 4:30 -7:20pm with additional lab hours required

Professor Marjorie Hayes

Enrollment limited - Priority to Jr/Srs

Pre-Req: THEA 3050 and audition

AUDITION: Wednesday, October 24, RTFP 127, 5-6:30pm

Register for audition by sending attached questionnaire to marjorie.hayes@unt.edu

DESCRIPTION

Using my experiences at Grotowski's Polish Theatre Laboratory and other physical theatre companies, we will study the processes and practices of movement based theatres. The course gives intensive practice in collective creation for directors and actors. Demonstration of skill required.

1. Introduction

Physical Theatre is rooted in the need of the ancient shaman to share his visions in tribal ceremonies uniting his community. In our multi-cultural 21st century, physical theatre practitioners share their world view in productions that are neither primarily verbal nor plot oriented but are composed by a broad range of ideogrammatic movement. Unaided by complex designs or media, the emphasis is on the actor and the action. Patterns of texts, sounds, actions and images become a sensuous experience exploring the limitless potential of the theatre form.

2. Physical-Vocal Training: Preparing to Act

The training used here is derived from many sources: tumbling, commedia, mime, stage combat, yoga, dance. It is designed to eliminate the physical and psychological obstacles that separate impulse from action. However, the aim is not athletic development, gymnastics perfection, or a specific study of these disciplines, but rather, a personal investigation leading to the removal of the body's resistances which hinder a spontaneous and truthful reaction in a creative situation. Physical and vocal exercises are taught to develop strength, coordination, flexibility, rhythm and harmony. Improvisational exercises examine dramatic action, environment and the music of words.

3. The Actor as Creator

This study has been designed to fully challenge actors through the theatrical realization of their ideas. Instead of beginning with an analysis of a script and finding their relationship to those ideas, here the piece springs totally from their own imaginations. Then, through the completion of a step-by-step process, each actor will prepare a personal composition using movement, speech, dance, song and silence. Using the action sequences discovered in rehearsal, they will develop the composition with the instructor and later with others in the group. Texts can be used as an element of the composition, however the through-line is physical rather than verbal, intuitive rather than cerebral, and is effectively accomplished by students of all levels and cultural backgrounds. These ├ętudes may form the building blocks of future theatre pieces.

4. Physical Theatre: The Director-Actor Creative Team

Groups composed of a director (with completion of Directing I) and actors will created a 20 minutes theatre piece based upon a text with no technical or electronic resources. These performances will be presented at the end of the semester.

Picture: Ryszard Cieslak in The Constant Prince, Jerzy Grotowski, Director, Polish Theatre Laboratory.

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