Transcript Unit_32___Developing_Physic

Unit 32 – Developing Physical
Theatre
Historical Practitioner Workshop
Jacques Lecoq
P1
explain contemporary developments of physical theatre recognising key features, influences and working methods.
M1
explain contemporary developments of physical theatre making clear and considered judgements about key features, influences, and
working methods.
D1
analyse contemporary developments of physical theatre fully justifying all judgements concerning key features, influences and working
methods
P2
demonstrate the use of physical theatre skills in performance
M2
apply physical theatre skills with confidence and style in performance
D2
apply physical theatre skills with ease, confidence and fluency in performance
P3
respond to stimulus material, recognising performance possibilities.
M3
demonstrate considered responses to stimulus material, recognising performance possibilities
D3
demonstrate responses to stimulus material, showing insight and full awareness of performance possibilities
P4
use ideas, resources, research and materials to find and shape an appropriate form.
M4
develop ideas, resources, research and materials, imaginatively shaping them in an appropriate form.
D4
develop ideas, resources, research and materials indicating the possibilities for
performance, in a perceptive and comprehensive manner.
Scenario:
Imagine that you are a member of the WJSF
theatre company. Your company has been
hired by The Studio, a local arts centre to
produce 2 pieces of physical theatre to be
performed in an arts festival.
About Jacques Lecoq
Jacques Lecoq came to theatre through an interest in sports. He
began gymnastics at seventeen and through work on the parallel
bars and the horizontal bar he came to see and to understand
the geometry of movement.
Lecoq taught physical education for several years. He later found
himself acting and a member of the Comediens de Grenoble.
This company and his work with Commedia dell'arte in Italy
introduced him to the idea of mime, masks and the physicality
of performance
Areas of Focus:
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Sport & Games
Mime & Masks
Melodrama
Human drama
Tragedy
Clowning
The School – Ecole Internationale De Theatre Jacques
Lecoq
On 5th December1956, Jacques Lecoq founded the
school in Paris. In 1976 the school moved into The
Central, previously a gymnasium, which became a
well-known boxing centre in the beginning of the
20th century. The working space, built in 1876, is
located in Paris.
The aim of the school is to produce a young theatre
of new work, generating performance languages
which emphasise the physical playing of the actor.
The School
Exercise 1 - Grandma’s Footsteps
• One person is Grandma - he/she faces a wall. The others in the group start
at the other end of the room, then try to creep up to Grandma and tap her
on the shoulder. However, at any moment, Grandma can turn around
suddenly. If she sees anyone moving, she points at them and that person
must return to the start. No-one is allowed to move while she is watching
them.
• Whoever manages to tap her on the shoulder becomes Grandma (male or
female) and the game starts again.
Development – Grandma’s Keys
Development – Team Grandma’s Keys
Working as a team, the aim of the game is to retrieve
Grandma’s keys and get them back to the start point
without Grandma seeing anyone move or knowing
where the keys are!
• What do we learn from this exercise?
• How does it relate to Lecoq as a practitioner?
Improvisation
• In small groups create a scene using mime only.
• The basis of the scene MUST be the game we
have just played.
• Make your movement exaggerated to tell the
story and establish your character.
• Ensure that you are REALLY playing the game in
your piece and that it has not been pre-planned.
• STAY IN ROLE!!
Plenary
• How successfully did the game inform the
improvisation?
• Did you find this a useful technique as an
actor?
• As an audience member did this enhance the
performance? How?
Workshop 2 – Jacques LeCoq
• Complete reflective journal entry for session 1.
• Exercise 1 – walking into space
• Exercise 2 – Triangle game
- Class split in half
- 1st group just played game
- 2nd group had ‘rules’ (only walking sideways/backwards)
- analysed the game and dynamics of tension and movement
between players/performers. What effect did the rules have?
Comedy? Tension? Tragedy? Storytelling emerging?
• Exercise 3 – ‘Off-balance’ work in teams. Testing how comfortable
we are with falling sideways/falling forwards and backwards.
Freedom of movement (and trust between performers). How does
it make us feel when we are ‘off-balance’?
Unit 32 – Developing Physical
Theatre
Historical Practitioner Workshop
Jacques Lecoq
P1
explain contemporary developments of physical theatre recognising key features, influences and working methods.
M1
explain contemporary developments of physical theatre making clear and considered judgements about key features, influences, and
working methods.
D1
analyse contemporary developments of physical theatre fully justifying all judgements concerning key features, influences and working
methods
P2
demonstrate the use of physical theatre skills in performance
M2
apply physical theatre skills with confidence and style in performance
D2
apply physical theatre skills with ease, confidence and fluency in performance
P3
respond to stimulus material, recognising performance possibilities.
M3
demonstrate considered responses to stimulus material, recognising performance possibilities
D3
demonstrate responses to stimulus material, showing insight and full awareness of performance possibilities
P4
use ideas, resources, research and materials to find and shape an appropriate form.
M4
develop ideas, resources, research and materials, imaginatively shaping them in an appropriate form.
D4
develop ideas, resources, research and materials indicating the possibilities for
performance, in a perceptive and comprehensive manner.
Workshop 3 – Jacques LeCoq
LO: To Learn the dynamics of pushing and pulling
in relation to Jacques Lecoq.
10 mins – Complete reflective entry journal for
Workshop 2 – see notes on slide above.
The Dynamics of Pushing and Pulling
I push…I pull
I am pushed… I am pulled
I push myself…I pull myself
Melodrama
I push…I pull
Exercise 1 – Working in pairs one in front of the other. The
person behind grabs the hips of the person in front. The person
in front leans forward with whole body, keeping heels on the
ground. The person behind must prevent the person in front
from falling on the floor. Try to find a dynamic balance…
Melodrama
I push…I pull
Demonstration 1 – Two students suspend the stick between
themselves using only the palm of their hand and move around
the space. What effect does this create?
Demonstration 2 – Two students suspend the stick between
themselves using a body part of their choice and move around
the space. What effect does this create?
Demonstration 3 – Two students suspend the stick between
themselves using a given body part and move around the space.
They are also given a word or intention. What effect does this
create?
• What do we learn from this exercise?
• How does it relate to Lecoq as a practitioner?