Unit_32___Developing_Physic

January 6, 2018 | Author: Anonymous | Category: Arts & Humanities, Performing Arts, Theatre
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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: • • • • • •

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?

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