Tag: A Level Drama

Grotowski and Gurawski: Configuring the Space

Posted on by Phil

Interview with Paul Allain

Paul Allain is Professor of Theatre and Performance and Dean of the Graduate School at the University of Kent, Canterbury. Since collaborating with the Gardzienice Theatre Association from 1989 to 1993 he has gone on to write extensively about the theatre. He has published several edited collections on Grotowski as part of the British Grotowski project.

Paul’s films about physical acting for Methuen Drama Bloomsbury will be published at Drama Online in Spring 2018 as Physical Actor Training – an online A-Z.  Draft films are currently available at the Digital Performer website.

email: P.A.Allain@kent.ac.uk


Connections to the IB, GCSE, AS and A level specifications

  • theatrical style
  • innovations
  • key collaborations with other artists
  • methods of creating, developing, rehearsing and performing
  • relationship between actor and audience in theory and practice
  • significant moments in the development of theory and practice

PC: Why was the configuration of space and the actor/spectator relationship so crucial to his work?

PA: It is interesting that he worked with Jerzy Gurawski who was an architect and not a stage designer. They clearly thought about the whole room as an architectural space rather than as a space of viewing as you would in a proscenium arch or some traditional theatres. The acoustic dimensions were also important especially when working on the actor’s resonance and the musicality of the whole performance.

PC: What example do you think best illustrates their control of the acoustic space?

PA: The stamping boots of Akropolis: the actors dive into a seemingly impossible tiny box at the end of performance, they disappear and then we hear a voice saying, “All that remained was the smoke.” Then there was silence. Flaszen would say that he felt this performance was successful when the spectators didn’t clap.

PC: You choose to use spectator rather than audience: is that deliberate?

PA: Yes, it’s about an individual encounter. Grotowski, in Polish, talks about the spectator not the audience, so it is singular. It is never homogenous; it’s never the audience as a total body of people. It’s always about that one-to-one relationship. People accused his work of being elitist, because he wanted to keep the audiences small. I don’t think that’s elitist. I think it is just having a clear understanding of what the limits of your theatre are. He knew the best way of experiencing that event. That intimacy, that proximity was possible with only a few people. It is interesting to see the growth in popularity today of one-to-one performance, immersive and participatory theatre. Grotowski was doing that but within a much more theatrical set up, because it was still within a single unitary space of a building: a room, a studio, a gallery sometimes.

PC: Are there drawings of these different configurations?

PA: In Towards a Poor Theatre there are diagrams by Eugenio Barba: black boxes for the actors and white boxes for spectators. These show the shifting arrangement for every performance, moving away from that distant proscenium arch remoteness. They were immersing themselves in the group of spectators.

PC: What configurations stand out for you outside the significant productions we have discussed?

PA: In Kordian, the spectators were in a mental asylum, sitting on bunk beds with actors above them and around them. The actors were tied up in straightjackets right next to them as fellow inmates in the asylum. There is always this configuration as you say, which is a good word for it.

PC: Why did he finish the Theatre of Productions phase with such a stripped back performance like Apocalypsis cum Figuris?

PA: They wanted it to be left open, there wasn’t any attempt to configure the spectators. The production was a wild party where a simpleton is abused by those present. There wasn’t any projection onto the spectators of who they were, they were just people coming to this event as witnesses. I think he saw the limits of manipulation, the limits of the actor/spectator relationship. That is why he moved away from theatre productions.

Grotowski’s Significant Productions

Posted on by Phil

Interview with Paul Allain

Paul Allain is Professor of Theatre and Performance and Dean of the Graduate School at the University of Kent, Canterbury. Since collaborating with the Gardzienice Theatre Association from 1989 to 1993 he has gone on to write extensively about the theatre. He has published several edited collections on Grotowski as part of the British Grotowski project.

Paul’s films about physical acting for Methuen Drama Bloomsbury will be published at Drama Online in Spring 2018 as Physical Actor Training – an online A-Z.  Draft films are currently available at the Digital Performer website.

email: P.A.Allain@kent.ac.uk


Connections to the IB, GCSE, AS and A level specifications

  • theatrical style
  • innovations
  • key collaborations with other artists
  • relationship between actor and audience in theory and practice
  • significant moments in the development of theory and practice

Images of productions can be found at grotowski.net

PC: How long was Grotowski working as a director?

PA: He wasn’t a director in the traditional way that we would understand someone who just produces a repertoire of work. That was a period of fifteen years: from studying in Moscow, then traditional drama school in Kraków and then setting up the Theatre of Thirteen Rows in 1959. He created his very last performance in 1969. It is a very short period of making theatre performances but they astounded the world and completely transformed our understanding of what theatre can do.

PC:  What was the sequence of the most significant productions?

PA: It was The Tragical History of Doctor Faustus, Akropolis, The Constant Prince and then Apocalypsis cum Figuris.

PC: Was Dr Faustus the only text he worked with?

PA: No, all his other performances were based on classical texts but not just classical as in our canon in Britain, Western Europe or America. They were based on Polish and in one case a Spanish classic. This is something people mistake about him; they think that he was devising and creating these texts, but in fact they were mostly well known and classic Polish dramas. Some of them were fragmentary poetic dramas.

PC: Why was Dr Faustus significant?

PA: In 1962, Dr Faustus by Christopher Marlowe was reframed as the last supper where the audience are invited to see Faustus in his last hour before he gets taken away by Mephistopheles. Dr Faustus pushed the actors’ work a long way. It launched Grotowski on the world stage because it was the piece that Eugenio Barba saw and took visitors and producers to see at an International Theatre Festival. The actor/spectator relationship in the space was crucial as it was in all his productions. In Dr Faustus the spectators sat at a table with the action happening on this table at chin height, right in front of their faces. Rather than looking at the back of someone’s head, as you would do in a proscenium arch theatre, you were looking at another spectator also experiencing the same things. This very much amplified the experience.

PC: What about Akropolis?

PA: It was made in the same year as Dr Faustus, 1962 and there is the film record of it, even though it is not a very good rendition. It is more of an ensemble piece based on the classic play by Stanisław Wyspiański. This play was originally set in Wawel Cathedral, Kraków, which is the national cathedral where these dead kings and queens lie in state. Grotowski relocated it to Auschwitz. It was a very important production for addressing the Holocaust, being set in Kraków, thirty miles away from Auschwitz itself, just seventeen years after it was liberated. They developed this whole mise-en-scène where the concentration camp was built around and above the spectators during the course of the performance. They were surrounded by the action and at the start of the play they were told, “You are the living and we are the dead.” The spectator was positioned as a witness again.

PC: You touched on The Constant Prince earlier. Why was that a significant production?

PA: The Constant Prince followed in 1965 and is seen as the production where Grotowski’s acting techniques got taken to the highest level. It was Cieślak’s total act as the Constant Prince, this gift of himself: the holy actor. Critics couldn’t articulate their experience easily but they talked about Cieślak’s illumination. The extraordinary nature of what he did comes across even in a grainy film, shot with one camera. It is a bad rendition but the embodied sense of what it might have been like to be a spectator there comes through. For this production, the spectators were positioned above the stage, watching this actor enacting this repetitive ritual of torture, being asked to give in and yet not giving in, delivering this poetic response about why he would not do so, why he is constant. The high position of the spectators meant they are put in this awkward place: if they sit back in their chair they can’t see the action so they have to lean forwards to observe someone’s suffering. They are put into this position of being a willing voyeur in someone else’s suffering.

Full version available here

PC: What about his final production?

PA: Apocalypsis cum Figuris (1969) was his last performance which he carried on presenting until 1979. It stands out for many reasons. It overlapped with the paratheatre phase. People would often come to the performances, stay behind afterwards and talk, then get invited to participate in paratheatre. It was devised, as we’d call it today; they took texts from T.S. Eliot, Simone Weil, from The Bible. The production was heading away from theatrical structures. The first version was in costumes, then Grotowski said, “No, wear your daily clothes.” Initially there were benches for the audience, then they removed them. It was performed in an empty room, getting back to that simplicity of just people in a space. The distinction between the spectator and the actor was being blurred. That interaction, that encounter was then extended into paratheatre, where there were no spectators, no observers, just actors.

Up Next:

 

Part 5: Grotowski and Gurawski: Configuring the Space

Part 6: Grotowski Inspired Creativity and Outrage

Part 7: Grotowski’s Work with Text

Part 8: Grotowski’s Communication with Spectators

Part 9: Acting for Grotowski: What is it to be Human?

Part 10: Grotowski Composes Associations: Plastique and Corporal Exercises

Part 11: Grotowski’s Voice Work: Connecting Body and Voice

Part 12: Grotowski’s Context: Sickness, War and Oppression

Part 13: Paratheatre: What is Beyond Theatre?

Part 14: Paratheatre: Finding the Desire to Change

Part 15: Grotowski’s Influence: Barba, Brook and Beyond

FULL INTERVIEW HERE

Grotowski Burning at the Stake After Artaud

Posted on by Phil

Interview with Paul Allain

Paul Allain is Professor of Theatre and Performance and Dean of the Graduate School at the University of Kent, Canterbury. Since collaborating with the Gardzienice Theatre Association from 1989 to 1993 he has gone on to write extensively about the theatre. He has published several edited collections on Grotowski as part of the British Grotowski project.

Paul’s films about physical acting for Methuen Drama Bloomsbury will be published at Drama Online in Spring 2018 as Physical Actor Training – an online A-Z.  Draft films are currently available at the Digital Performer website.

email: P.A.Allain@kent.ac.uk


Connections to the IB, GCSE, AS and A level specifications

  • artistic intentions
  • innovations
  • methods of creating, developing, rehearsing and performing
  • relationship between actor and audience in theory and practice

PC: What was the relationship between Grotowski’s performance work and Artaud’s ideas?

PA: The relationship with Artaud is explained very clearly in Towards a Poor Theatre in the chapter titled ‘He Wasn’t Entirely Himself’. In this, he says that his engagement with Artaud came later than one might expect. He developed his practice and his ideas of theatre and then discovered the connection and closeness to Artaud’s ideas. He didn’t look at Artaud and think “I could put that into practice.” Artaud has incredible ideas about total theatre: people on revolving chairs, using all the mise-en-scène and including cinema, sound; but it is quite hard to enact. You see the same words, the ‘total’ theatre of Artaud and the ‘total’ act of Grotowski; but they are completely different. Grotowski is about paring away scenography, lighting, sound – of course, the actors are still lit but it’s never decorative, it is totally functional. It’s about getting a really simple mise-en-scène which he adapted for every production to focus on the actor. That’s what is at the core of it for Grotowski: the actor/spectator relationship, whereas Artaud was really about total theatre, in a much more filmic way, the montage of all these elements that would somehow take over the audience.

PC: Would you say there was a closeness in their intensity, even though Artaud’s ideas were never fully realised?

PA: Yes, I think there is a similar interest in rigour. How, through theatre, you can create an impact that changes the spectator. Artaud wanted it to be like the plague where this psychic contamination spreads out from the theatre event and changes society somehow, ‘heart and soul’. Through your nervous response to this extraordinary, frightening, sensational experience you’re changed and society is improved. Grotowski wanted that as well but through very different means. Both Artaud and Grotowski wanted to push limits: how far can you go? It is not about the entertainment industry, it’s not about pleasing the audience. Grotowski is quite critical in his language talking about the Courtesan actor who’s selling themselves for the price of an expensive ticket. The actor should rather be giving themselves to the audience. I think that has connections with Artaud’s view of this actor opening him/herself up. Grotowski cites Artaud’s image of “the actor should be like the martyr burning at the stake, still signalling through the flames.” I always find that a very potent idea; even when you’re burning up, you’re still trying to communicate through the flames as you die, like Joan of Arc. It is a powerful metaphor that captures the rigour, that extremity of what they’re both trying to do. The cruelty that I think Artaud talks about is a cruelty to yourself; Grotowski is interested in the actor penetrating their own existence, in questioning themselves to a deep level: What happens if I go on stage in front of people? Why should I have the privilege of doing that? If I do, how do I get over the desire to entertain; the desire to please; the desire to be successful? Instead you work in a ‘via negativa‘ way, stripped back, not resisting things.

PC: How would you explain via negativa?

PA: It is quite difficult to explain the via negativa but he talks about removing psychophysical blocks, making impulses actions. Stanislavski did acrobatics with his actors and Stanislavski thought, “If you can overcome your fear of doing a leap or a roll, how much easier is it then to overcome a difficult role or a difficult bit of text.” It gets you over that sense of fear and it makes you freer. Grotowski is the same: he is finding that freedom of action, of not hesitating, of turning impulse into action and stopping that self-judgmental voice in the head that’s always saying, “Am I good enough?” Instead, you really commit to something, like the idea of the gift, you give yourself totally: the ‘holy actor’; it’s an act of submission. However, if it’s too vain, if it’s too egotistical, then it becomes an imposition.

Up Next:

Part 4: Grotowski’s Significant Productions

Part 5: Grotowski and Gurawski: Configuring the Space

Part 6: Grotowski Inspired Creativity and Outrage

Part 7: Grotowski’s Work with Text

Part 8: Grotowski’s Communication with Spectators

Part 9: Acting for Grotowski: What is it to be Human?

Part 10: Grotowski Composes Associations: Plastique and Corporal Exercises

Part 11: Grotowski’s Voice Work: Connecting Body and Voice

Part 12: Grotowski’s Context: Sickness, War and Oppression

Part 13: Paratheatre: What is Beyond Theatre?

Part 14: Paratheatre: Finding the Desire to Change

Part 15: Grotowski’s Influence: Barba, Brook and Beyond

FULL INTERVIEW HERE

Grotowski’s Reply to Stanislavski

Posted on by Phil

Interview with Paul Allain

Paul Allain is Professor of Theatre and Performance and Dean of the Graduate School at the University of Kent, Canterbury. Since collaborating with the Gardzienice Theatre Association from 1989 to 1993 he has gone on to write extensively about the theatre. He has published several edited collections on Grotowski as part of the British Grotowski project.

Paul’s films about physical acting for Methuen Drama Bloomsbury will be published at Drama Online in Spring 2018 as Physical Actor Training – an online A-Z.  Draft films are currently available at the Digital Performer website.

email: P.A.Allain@kent.ac.uk


Connections to the IB, GCSE, AS and A level specifications

  • innovations
  • key collaborations with other artists
  • methods of creating, developing, rehearsing and performing
  • use of theatrical conventions
  • influence
  • significant moments in the development of theory and practice

PC: What were his early influences?

PA: There are lots of routes into Grotowski’s work. One is his connection with Stanislavski. In 1955, he was studying at GITIS in Moscow, one of the main Russian drama schools. Grotowski worked with Yuri Zavadsky, who had come out of the Stanislavskian tradition. People often see Stanislavski and Grotowski as being opposed; that is a real mistake. Grotowski wrote this text, Reply to Stanislavski in 1983 in Polish. It was only published in English in 2008 in The Drama Review. He explains how he’d been influenced by Stanislavski after studying him in Moscow and how he was carrying on the work ‘On Physical Actions’ that Stanislavski had left unfinished when he died.

Many people have difficulties distinguishing technique from aesthetics. So then: I consider Stanislavsky’s method one of the greatest stimuli for the European theatre, especially in actor education; at the same time I feel distant from his aesthetics. Stanislavsky’s aesthetics were a product of his times, his country, and his person. We are all a product of the meeting of our tradition with our needs. These are things that one cannot transplant from one place to another without falling into clichés, into stereotypes, into something that is already dead the moment we call it into existence. It is the same for Stanislavsky as for us, and for anybody else.

Grotowski, J., & Salata, K. (2008). Reply to Stanislavsky. TDR (1988-), 52(2), p.31.

His interest in Stanislavski was underpinned by the phrase ‘I don’t believe you’ which they both used. Grotowski’s is actually quite a Stanislavskian psychophysical technique but much more movement orientated.

PC: Can you pinpoint where Grotowski’s aesthetics differ?

PA: Grotowski wasn’t starting from interpreting or staging plays, he wasn’t working with characters; he was working with roles.

PC: What is the difference between Stanislavski working on characters and Grotowski working on roles?

PA: Grotowski says the role should be like a ‘scalpel’ for opening up the person, the actor. It is really about using theatre as a way of revealing the person not the person identifying with the character.

PC: Is there an example that can illustrate that difference?

PA: When Cieślak played the role of the Constant Prince in the eponymous play it is all based on his memories of the first time he fell in love with a girl as a teenager. He and Grotowski spent nine months reconstructing the score, the inner life, of this awakening feeling. They reconstructed these feelings of passion, of erotic desire, of prohibition as a young Catholic boy where feeling these things was sinful. The narrative is of the Constant Prince being tortured by the Moors: a horrible story, based on the Calderón de la Barca play. The torture ends with the Prince’s death, because he doesn’t give in: he’s constant. We see that story but, without knowing it, we experience this whole other life intuitively. It was a physical realisation of what Stanislavski called the ‘inner life’. Grotowski combined the musicality and plasticity of Meyerhold with a Stanislavskian psychological process. It was never about true to life character, it was about revealing something of the actor.

Up Next:

Part 3: Grotowski Burning at the Stake After Artaud

Part 4: Grotowski’s Significant Productions

Part 5: Grotowski and Gurawski: Configuring the Space

Part 6: Grotowski Inspired Creativity and Outrage

Part 7: Grotowski’s Work with Text

Part 8: Grotowski’s Communication with Spectators

Part 9: Acting for Grotowski: What is it to be Human?

Part 10: Grotowski Composes Associations: Plastique and Corporal Exercises

Part 11: Grotowski’s Voice Work: Connecting Body and Voice

Part 12: Grotowski’s Context: Sickness, War and Oppression

Part 13: Paratheatre: What is Beyond Theatre?

Part 14: Paratheatre: Finding the Desire to Change

Part 15: Grotowski’s Influence: Barba, Brook and Beyond

FULL INTERVIEW HERE

Discovering Grotowski and Pushing Yourself

Posted on by Phil

Interview with Paul Allain

Paul Allain is Professor of Theatre and Performance and Dean of the Graduate School at the University of Kent, Canterbury. Since collaborating with the Gardzienice Theatre Association from 1989 to 1993 he has gone on to write extensively about the theatre. He has published several edited collections on Grotowski as part of the British Grotowski project.

Paul’s films about physical acting for Methuen Drama Bloomsbury will be published at Drama Online in Spring 2018 as Physical Actor Training – an online A-Z.  Draft films are currently available at the Digital Performer website.

email: P.A.Allain@kent.ac.uk

 

Part 1: Discovering Grotowski and Pushing Yourself

Connections to the IB, GCSE, AS and A level specifications

  • theatrical purpose

PC: What led you to the work of Jerzy Grotowski?

PA: When I was at secondary school in the late seventies we went down to Ashby-de-la-Zouch and had a whole weekend doing Grotowski-based training with RAT Theatre; very rigorous, very demanding. We saw them perform on the Friday night. I had no idea what to expect and these guys were basically whipping and beating each other. I later found out that these actors did this thing where they didn’t decide who was going to be the one whipping or who was going to be the one being whipped until just before the performance. RAT Theatre had taken the Grotowski thing in a way he wouldn’t really have liked.

PC: Did you study Grotowski when you went on to university?

PA: Absolutely. When I went to Exeter University in the mid-eighties my lecturers had been inspired by Grotowski in the seventies; people had gone over to Poland and returned and put it into practice. Exeter was a very practical course and our first project was working ten to ten every day, six days a week with someone who had worked with Grotowski. My friend and I used to look at Towards a Poor Theatre and impersonate it; he looked a bit like Ryszard Cieślak, so I used to pretend to be Grotowski. I got really into pushing myself, acrobatics etc.

PC: When did you formally start to write about Grotowski?

PA: I did a PhD on Gardzienice, another Polish theatre company. Their director, Włodzimierz Staniewski, had worked with Grotowski in the seventies. The only way I was allowed to research them was to actually be there training. It was later that I came back to Grotowski, to see what was behind the work I had been doing. I did the British Grotowski Project between 2006 and 2009. I saw that there was then very limited access to audio/visual material about Grotowski. I knew it existed but most of it was in Polish and quite difficult to get hold of. I wanted to spread the word a bit and make stuff available.

PC:  What was the main way of accessing Grotowski’s work before that project?

PA: Most people accessed Grotowski through Towards a Poor Theatre. It was really influential in the late sixties and seventies after it came out in 1968 but there are lots of issues with it. It is badly translated; it calls Grotowski a ‘producer’, never a director and there are lots of other aspects of it that are not accurate. It only covers the Theatre of Productions but that is only one period of Grotowski’s work. Paratheatre, Theatre of Sources, Objective Drama and Art as Vehicle are the others.

Up Next:

Part 2: Grotowski’s Reply to Stanislavski

Part 3: Grotowski Burning at the Stake After Artaud

Part 4: Grotowski’s Significant Productions

Part 5: Grotowski and Gurawski: Configuring the Space

Part 6: Grotowski Inspired Creativity and Outrage

Part 7: Grotowski’s Work with Text

Part 8: Grotowski’s Communication with Spectators

Part 9: Acting for Grotowski: What is it to be Human?

Part 10: Grotowski Composes Associations: Plastique and Corporal Exercises

Part 11: Grotowski’s Voice Work: Connecting Body and Voice

Part 12: Grotowski’s Context: Sickness, War and Oppression

Part 13: Paratheatre: What is Beyond Theatre?

Part 14: Paratheatre: Finding the Desire to Change

Part 15: Grotowski’s Influence: Barba, Brook and Beyond

FULL INTERVIEW HERE

David Barnett on Brecht in Practice

Posted on by Phil

David Barnett is Professor of Theatre at the University of York. He works mostly on German theatre, with a particular interest in the Brechtian tradition of making theatre politically. He has written widely on postdramatic and experimental theatre, play texts and directing.

David has developed a wonderful free-to-access resource that connects Brecht’s theories for the theatre to real-world theatre practice. Brecht in Practice is aimed at people who are interested in the political possibilities of theatre-making, who may have read about Brecht and his ideas, but who might find the gap between theory and practice hard to bridge.

The site complements David Barnett’s book, Brecht in Practice, a volume in which many of the theoretical issues are discussed in greater detail.

David has kindly shared a taster of the vast content from Brecht in Practice. This simply scratches the surface of the site and we urge you to follow the links and take full advantage of this fantastic free resource.

Brecht in Practice is rooted in theory but each theoretical idea is connected to real examples in order to show the relationship between theory and practice.

Who was Bertolt Brecht? an overview of Brecht’s life and ideas

Brecht (1898 – 1956) experienced a turbulent world first-hand and sought to understand how such instability could occur and how his approaches to theatre might represent a dynamic, active world that was also capable of change.

The Meaning of ‘Brechtian’: a definition of what this term might mean for theatre practitioners

‘Brechtian’ can be found in all sorts of contexts and applied to all manner of theatre and performance. It is often used to describe certain devices used in performance, such as direct address to an audience, the use of placards or signs, or showing the mechanics of a production instead of hiding them behind illusionist aesthetics. In the light of this, one could describe all manner of TV adverts as ‘Brechtian’, but it is obvious that none of them are concerned with criticizing capitalism or its excesses – on the contrary, they are designed to increase consumption and profits.

I thus propose that ‘Brechtian’ implies the dialectical examination of dramatic material. That is, ‘Brechtian’ puts the emphasis on a method of dealing with dramatic material, not necessarily the means with which the material is performed, even though they are important. While ‘dialectics’ is a philosophical term and has its own vocabulary, the process of dialectical examination is based on the search for socially contextualized contradictions. The theatre company then looks for suitable ways to perform the contradictions in a theatre of showing.

In short, a focus on Brecht’s means rather than his aims can de-politicize the theatre, and make it purely the site of entertaining devices rather than one that engages with society and its mechanisms with a view to changing both.

The Aims of Brechtian Theatre: gives an overall introduction to what Brecht was trying to achieve in his theatre and how he set out his theoretical ideas.

The list of points below is not exhaustive, but does draw attention to some of the more important aspects of Brecht’s theatre.

To stage accurate representations of human beings

To reveal the social factors the influence human action, behaviour and thought

To show the (stage) world as changeable

And derived from these ideas, a Brechtian theatre seeks to:

  1. Criticize human behaviour, actor and thought as ‘natural’
  2. Articulate contradictions clearly

Brecht’s Aims for a Production:

Brecht’s Means:

The Brechtian Method: outlines how Brecht’s approach to making theatre can be considered a ‘method’ and how it might be applied.

It begins with the construction of the Fabel , which then leads to initial blockings in the form of the scenes’ Arrangements . The actors then develop a basic Gestus  for their figure, and inductive rehearsal  leads to a diverse range of Haltungen . The aim, as ever, is to produce lively, realistic theatre that allows the spectator to speculate on the ways society works by drawing attention to the contradictions that drive the action.

A Theatre of Showing: Brecht’s theatre is all about setting out relationships with clarity and not passing over contradictions

Theory and Practice: considers the relationship between the two and offers thoughts on how the two can be negotiated.

Marxism, Dialectics and Contradiction : a more detailed discussion of Brecht’s approach to reality with an emphasis on how the world works and how it can change.

Brecht’s Approach to Reality : this relationship lies at the heart of Brecht’s theatrical ambitions and differentiates his theatre from other forms of theatre-making

Brechtian Realism: contrasts the more conventional definition of ‘realism’ in the theatre with Brecht’s

Politics in a Brechtian Theatre : what are the political implications of Brecht’s theories?

Making Theatre Politically: what is the difference between ‘making political theatre’ or ‘making theatre politically’?

Modelbook

Brecht in Practice presents a virtual modelbook based on a production of Patrick Marber’s Closer. 

Click here to access the Virtual Modelbook of Patrick Marber’s Closer.

Patrick Marber’s Closer

Brecht in Practice takes an in depth look at a production of Patrick Marber’s Closer staged at the University of York with professional actors in October 2016. The site provides a detailed analysis of the production from the starting point of the theory introduced.

Free resources to download

You can download the following exercises:

  1. Social Salutations – a simple exercise with a couple of variations that establish Gestus and Haltung, and introduce Brecht’s theatre of showing .
  2. Posh Restaurant – a scenario that invites participants to think about class, not through character, but through a clear situation and a series of relationships. The scenario further develops Brecht’s emphasis on showing  material onstage and sensitizes participants the processes that lead to actions and reactions in public.

You can also download the following approaches to working with dramatic material:

  1. The Role of the Fabel – this plan introduces the practice of writing a Fabel  for a scene and staging material in its light. You will also need to download this extract  from Arthur Miller’s The Crucible and this sample Fabel .
  2. Inductive Rehearsal – this plan introduces the practice of inductive rehearsal , a method Brecht developed for actors working with issues of social status and the pressure of social situations.

Want more on Brecht? Read our interview with Professor Tom Kuhn here.

 

World Theatre Traditions – Yuan Drama (AKA Zaju)

Posted on by Phil

“By turns lyrical and earthy, sentimental and ironic, Yuan drama spans a broad emotional, linguistic, and stylistic range. Combining sung arias with declaimed verses and doggerels, dialogues and mime, and jokes and acrobatic feats, Yuan drama formed a vital part of China’s culture of performance and entertainment in the thirteenth and fourteenth centuries.”

Hsia, C., Wai. & Kao, G. (2014). The Columbia Anthology of Yuan Drama. New York: Columbia University Press.

In order to understand Yuan drama we must understand the society in which it developed. Yuan society was unique in Chinese history : the entire nation was ruled by a foreign and militant tribe and its people officially divided into four ethnic groups with the Chinese at the bottom. The Mongols were the ruling class ; next were the se-mu, Moslems, Central Asians, Europeans, and other ethnic groups of the western regions ; third the han tribes of the north such as Tatars and Koreans, and those Chinese who lived in the territory of the former Chin dynasty; and lowest of all the Southerners i.e. the Chinese of the now defunct Southern Sung dynasty. These groups formed the basis for discriminatory policies and the practice of a spoils system.

Yang, R. (1958). THE SOCIAL BACKGROUND OF THE YÜAN DRAMA. Monumenta Serica, 17, 333.

The rise of the drama during the Yuan period, has been attributed to various causes. Some scholars believe it was a direct result of the examinations which required skill in composing songs. This theory has been challenged by modern scholars, among whom Wang Kuo-wei:

“The abolition of the examination was the real reason for the development of the drama. Since T’ang and Sung competitive scholars had been accustomed to the examinations. When the examinations were suddenly abolished the scholars no longer had an outlet for their talents; hence they turned their energies whole-heartedly to (the composition of) dramatical arias. Moreover, the requirement for the examinations on subjects during the Chin period had been most simple and shallow. These scholars once they lost what they were used to do, were unable to contribute much to other works of scholarship. For serious essays and documentary writings were not what they were familiar with. At this moment, the new style of drama appeared, and many turned their attention to it. When one or two gifted scholars devoted their entire talents to this new style, the writings of Yuan drama became a unique achievement.”

A third theory is advanced by Shionoya On:

“The Chinese people had always held the teachings of Con- fucius in high esteem, and Confucianism had been regarded as the foundation of both government and religion. But neither the Chin (Tatars) nor the Yuan (Mongols), conquerors who arose from the north, were capable of understand- ing and appreciating Confucian teachings and they allowed considerable freedom of thought in all religions, Confucianism, Taoism, Buddhism, Islam, and Christianity alike. The Chinese people, humiliated by the rule of foreign tribes, sought com- fort and consolation in poetry and wine. They took great delight in the newly developed form through which they could express their indignation against their own oppressors by poking fun at characters of the past. They criticised their world with passion and through satire admonished the people. Those who heard generally developed a sense of sympathy and satisfaction.”

Yang, R. (1958). THE SOCIAL BACKGROUND OF THE YÜAN DRAMA. Monumenta Serica, 17, 332 – 333

In 1995, Grant Shen directed Freed by a Flirt, the world’s first zaju opera in English. In translating the Chinese libretto into English, he preserved as many stylistic features of zaju as possible.

Read more articles by Grant Shen here.

Two English versions of The West Wing. Introduction taken from The Octant.

For a Yuan dynasty (1271-1368) opera, The West Wing (西厢记), written by Wang Shifu, is surprisingly racy, making it the most-performed, as well as the most-banned play in the history of Chinese opera. Now, a group of Yale-NUS College students are staging several scenes from this classic, marking the first time since the mid-Ming dynasty that parts of the original Yuan text are being performed. A separate cast will be performing the English translation of the play.

The West Wing tells the story between two lovers, Oriole and Zhang Sheng, who consummate their love despite parental disapproval. It was deemed immoral, pornographic even, by Confucian scholars and hence was banned for a long period of time in China.

Chinese version of The West Wing

World Theatre Traditions – Butoh

Posted on by Phil

Extract from A Short Introduction to Butoh by Frances Barbe

So what traits might we consider to be ‘butoh’? A definitive description would never satisfy the breadth of artists involved in it, but a few recurrent themes are useful by way of introduction. Butoh is an attempt to uncover the dance that already exists, it must emerge from within, and not be imposed from without. Butoh uses ‘reduction’ to great effect, for example, stillness and slow motion are well known to audiences of Butoh. Done well, highly charged stillness and very embodied slow motion can heighten the awareness of the dancer and their audience to the detail of movement, and it can explore timeframes beyond the everyday. Reduction or distillation heightens presence, though stillness and slow motion themselves do not account for the absolute presence associated with butoh. Often observed as a kind of ‘trance’, it is more accurate to say the butoh dancer is in a state of ‘hyper-presence’, aware of everything going on around them and within their own body. The fact that butoh dancers often seem ‘other’ than themselves is the result of their skills in transformation.

The two original founders of butoh, Kazuo Ohno and Tatsumi Hijikata offer seemingly contradictory advice on the process of transformation. Ohno might say, ‘find the spirit, and form will take care of itself’. Hijikata might say, ‘find the architecture of the cat, and the spirit will enter’. They approach the same point from different perspectives. Another distinctive aspect of transformation in butoh is that performers don’t necessarily use only human characters as a source. Equally ready to explore transforming into a stone or a wet rug the butoh dancer draws on the full range of textures available in the natural world and attempt to manifest those physical and psychic materials in their bodies. Yoko Ashikawa, one of the earliest female exponents of butoh, danced a tree enduring the changing seasons. For the audience though, her body can become an old woman or their grandmother reliving all of life’s experiences. To think of an old woman is not necessarily the best way to transform into old woman.

Extract from Kazuo Ohno Doesn’t Commute: An Interview with Kazuo Ohno by Richard Schechner

Kazuo Ohno on how he makes the movements:

My mother was my director. She was the one I thought about. The movement motifs of My Mother came from what I thought I was doing in my mother’s womb. I was in her-what was I doing there? Then came the costume-how to wear the costume. I feel that the costume is the cosmos. I must wear the cosmos and move within it. The other motif is cats. I studied their movements and looked at pictures of them. Even in pictures you get a certain kind of movement.

Extract from Hijikata Tatsumi: The Words of Butoh by Kurihara Nanako 

Kurihara Nanako on Butoh lessons with Ashikawa Yōko, a leading disciple of Hijikata Tatsumi.

In Ashikawa’s class, there were routine basic exercises. One of them was called mushikui (insect bites). A student is first told, “An insect is crawling from between your index finger and middle finger onto the back of your hand and then on to your lower arm and up to your upper arm.” The teacher rubs a drumstick back and forth across a drum, making a slithering sound. Then she touches those particular parts of the body to give some physical sense to the student. The number of insects increases one by one and finally, “You have no purpose. In the end, you are eaten by insects who enter through all the pores of your body, and your body becomes hollow like a stuffed animal.” Each insect has to be in its precise place. One should not confuse or generalize the insects even when their numbers increase. The most difficult part of this exercise was that one had to “be it,” not merely “imagine it.” This was emphasized in the class again and again. The condition of the body itself has to be changed. Through words, Hijikata’s method makes dancers conscious of their physiological senses and teaches them to objectify their bodies. Dancers can then “reconstruct” their bodies as material things in the world and even as concepts.’ By practicing the exercises repeatedly, dancers learn to manipulate their own bodies physiologically and psychologically. As a result, butoh dancers can transform themselves into everything from a wet rug to a sky and can even embody the universe, theoretically speaking.

Butoh Documentary – Piercing the Mask

Using contemporary footage of leading Butoh performers, this documentary presents the history of the development of butoh dance, interviews the creator of this Japanese modern dance form, Tatsumi Hijikata and other artists and explores the cultural significance of the Butoh dance form in Japan.

Butoh in Europe

This is a six part documentary of two weeks of workshops and performances exploring European interpretations of the Japanese movement form Butoh held at schloss Bröllin in Mecklenburg-Vorpommern, North East Germany in the long hot summer of 1995.