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321:, despite being the first company to incorporate the term Physical Theater into his company's title (DV8 Physical Theater), have expressed concern that the expression is now being used as a "miscellaneous" category, which includes anything that does not fall neatly into literary dramatic theater or contemporary dance. Newson is also frustrated that many companies and performers who describe what they do as physical theatre lack physical skills, training and/or expertise in movement. As such, contemporary theatre approaches (including post-modern performance, devised performance, visual performance, post-dramatic performance, etc.), while having their own distinct definitions, are often simply labelled "physical theatre" for no other reason than they are unusual in some way.
409:'I think physical theatre is much more visceral and audiences are affected much more viscerally than intellectually. The foundation of theatre is a live, human experience, which is different from any other form of art that I know of. Live theatre, where real human beings are standing in front of real human beings, is about the fact that we have all set aside this hour; the sharing goes in both directions. The fact that it is a very physical, visceral form makes it a very different experience from almost anything else that we partake of in our lives. I don’t think we could do it the same way if we were doing literary-based theatre.'
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has also had a strong influence on what we regard as physical theatre, partly because most physical theatre requires actors to have a certain level of physical control and flexibility. These qualities are rarely found in those who do not have some sort of movement background. Modern physical theatre
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Dance that is of a theatrical nature can also be problematic. A dance piece may be called "physical theatre" simply because it includes elements of spoken word, character, or narrative. However, although it is theatrical and physical, it may not necessarily share anything in common with the physical
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primarily through physical movement. Although several performance theatre disciplines are often described as "physical theatre", the genre's characteristic aspect is a reliance on the performers' physical motion rather than, or combined with, text to convey storytelling. Performers can communicate
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Certain institutions suggest that all physical theatre genres share common characteristics, although individual performances do not need to exhibit all such characteristics to be defined as physical theatre. Research into the training or "work" of physical theatre artists cites an amalgamation of
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contained elements of Noh imagery and physicality. Butoh, again, has been influencing
Western practitioners in recent years, and has certain similarities with Lecoq's mime training in terms of ideas (impression and consequential embodiment of imagery, use of mask, etc.)
503:, and started to pursue ideas relating to the physical body in performance. Meyerhold and Grotowski developed these ideas and began to develop actor training that included a very high level of physical training. Peter Brook influenced and developed this work.
417:(a student of Decroux) rejected his teacher's notion that the mime should be silent. If a mime uses their voice then they would have a whole range of possibilities open to them that previously would not have existed. This idea became known as "
421:" and Barrault advocated that no theatrical element should assume primacy over another: movement, music, visual image, text etc. He viewed each element as equally important, and believed that each should be explored for their possibilities.
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traditions have influenced some practitioners who have then influenced physical theatre. A number of
Oriental traditions have a high level of physical training, and are visual masterpieces. The Japanese
510:. Laban developed a way of looking at movement outside codified dance, and was instrumental in envisioning and creating movement not just for dancers but for actors as well. Later on, the
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theatre fascinated
Antonin Artaud and he wrote extensively on it. Noh has been important for many practitioners including Lecoq, who based his neutral mask on the calm mask of Noh.
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432:. Artaud has also been highly influential in shaping what has become known as physical theatre. Artaud rejected the primacy of the text and suggested a theatre in which the
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have all been consciously influenced by Noh. Alongside contemporary western practitioners, certain
Japanese theatre practitioners were influenced by their own traditions.
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drew partly on Noh and his students and collaborators have disseminated his highly physical training into the west. This has particularly happened through
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Besides a gradual infusion of ideas from outside the
Western theatre tradition, influences have arisen from within in theatre as well starting with
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numerous elements adopted as a means to further inform the theatrical research/production. These elements include:
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Encouraging audience participation, any interaction that occurs physically throughout the course of a performance.
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in Paris, have had a big influence on many modern expressions of physical theatre. Practitioners such as
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training are equally accessible for those with dance training as those with theatre training. Indeed,
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Inter-disciplinary origins, spanning music, dance, visual art, etc., as well as theatre
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also began to influence theatre practitioners, as their suggestions for movement and
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tradition, in particular, has often been often upon. The energy and visual nature of
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Arguably, the point at which physical theatre became distinct from pure mime is when
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Contemporary dance has added significantly to this mix, starting particularly with
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and others looked at the relationship between dance and theatre. In
America, the
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through various body gestures (including using the body to portray emotions).
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1087:"B.F.A. - Physical Theatre Concentration - Coastal Carolina University"
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is disposed of to have a more direct relationship with the audience.
306:, and the traditional performer/audience relationship (also known as
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The
Viewpoints Book:A Practical Guide to Viewpoints and Composition
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Another physical theatre tradition started with the French master
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Why Is That So Funny?: A Practical
Exploration of Physical Comedy
499:. Later in life, Stanislavski began to reject his own ideas of
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A modern physical theatre has grown from a variety of origins.
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The Active Text: Unlocking Plays
Through Physical Theatre
1170::A Book About the Theatre: Deadly, Holy, Rough, Immediate
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also has strong roots in more ancient traditions such as
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and tools are available to assist in formatting, such as
1405:
The Way of Acting:The
Theatre Writings of Tadashi Suzuki
1184:
Through The Body: A Practical Guide to Physical Theatre
1033:
Through the Body: A practical guide to Physical Theatre
1448:
Annual International Summer School of Physical Theatre
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Physical theatre companies and practitioners include:
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Contemporary dance troupe performing in New York, 2009
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is a genre of theatrical performance that encompasses
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479:method and Suzuki training. As well as Suzuki, the
178:. Unsourced material may be challenged and removed.
1319:
1231:Steven Berkoff and the Theatre of Self-Performance
954:Dell'Arte International School of Physical Theatre
1382:Potter, Nicole (ed.) et al. "'Movement for Actors
1454:
969:L'École Internationale de Théâtre Jacques Lecoq
347:L'École Internationale de Théâtre Jacques Lecoq
974:London International School of Performing Arts
1259:Apostles of Silence: The Modern French Mimes
79:, which are uninformative and vulnerable to
1342:The Body Speaks: Performance and Expression
94:and maintains a consistent citation style.
53:Learn how and when to remove these messages
405:, has this to say about physical theatre:
328:
1224:Angels Can Fly, a Modern Clown User Guide
1025:
1023:
1021:
345:and theatrical clowning schools, such as
256:Learn how and when to remove this message
238:Learn how and when to remove this message
136:Learn how and when to remove this message
1323:Devising Performance: A Critical History
1261:, Fairleigh Dickinson Univ Press, 1984.
332:
269:
1354:Meyerhold, Vsevolod and Braun, Edward;
1029:
1455:
1407:, Theatre Communications Group, 1993.
1320:Heddon, Deirdre; Jane Milling (2005).
1155:, Theatre Communications Group, 2004.
1018:
1233:, Manchester University Press, 2004.
541:
1315:The Moving Body (Le Corpes Poetique)
964:Fourth Monkey Actor Training Company
176:adding citations to reliable sources
147:
59:
18:
274:Physical theatre street performance
86:Please consider converting them to
13:
1372:, Bloomsbury Methuen Drama, 2002.
1358:, Bloomsbury Methuen Drama, 1978.
1115:
937:Institutes and training programmes
401:, a teacher out of the lineage of
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1479:
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34:This article has multiple issues.
1287:Twentieth Century Actor Training
673:
483:Movement, which originated from
372:, and some suggest links to the
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23:
622:Margolis Brown Adaptors Company
163:needs additional citations for
42:or discuss these issues on the
16:Genre of theatrical performance
1344:, St. Martin's Griffin, 2002.
1101:"One Year in Physical Theatre"
1093:
1079:
1068:
1050:
907:
376:, particularly the theatre of
90:to ensure the article remains
1:
1214:, Artmedia Publishing, 2005.
1058:"Interview with Daniel Stein"
1012:
302:Challenging the traditional,
1275:, Theatre Arts Books, 2002.
562:Chotto Ookii Theatre Company
549:
317:Some practitioners, such as
7:
1398:A Case for Physical Theatre
1301:Modern and Post-Modern Mime
1139:Beyond the Floating Islands
1036:. London: Nick Hern Books.
990:
979:Coastal Carolina University
534:taught theatre students at
10:
1484:
1124:The Theatre and Its Double
1110:
1075:http://www.weeblsstuff.com
536:Dartington College of Arts
308:"breaking the fourth wall"
1200:, Nick Hern Books, 2015.
1186:, Nick Hern Books, 2005.
1141:, PAJ Publications, 1986
424:Barrault was a member of
1384:, Allworth Press, 2002.
1030:Callery, Dympha (2001).
597:Horse and Bamboo Theatre
538:and other institutions.
497:Konstantin Stanislavski
357:received their initial
329:Modern physical theatre
1326:. Palgrave Macmillan.
1273:Towards a Poor Theatre
1247:, Mime Journal, 1985.
925:The Umbilical Brothers
731:Carlo Mazzone-Clementi
428:'s company, alongside
411:
361:at such institutions.
338:
275:
1285:Hodge, Alison (ed.);
1127:, Grove Press, 1994.
959:East 15 Acting School
944:American Mime Theatre
652:Theatre de l'Ange Fou
607:KimchiBrot Connection
602:Kage Physical Theatre
557:Canadian Deaf Theatre
407:
374:ancient greek theatre
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273:
1356:Meyerhold on Theatre
1172:, Touchstone, 1995.
836:Dimitris Papaioannou
577:DV8 Physical Theatre
393:metaphorical theatre
172:improve this article
1396:Stevenson, Darren;
1370:The Invisible Actor
1289:, Routledge, 2000.
984:Accademia dell'Arte
920:Shields and Yarnell
746:Avner the Eccentric
572:Double Edge Theatre
524:Judson Church Dance
415:Jean-Louis Barrault
325:theatre tradition.
1303:, Palgrave, 1989.
1299:Leabhart, Thomas;
1271:Grotowski, Jerzy;
1243:Decroux, Etienne;
1196:Callery, Dymphna;
1182:Callery, Dymphna;
886:Henryk Tomaszewski
851:Jami Reid-Quarrell
662:Theo Adams Company
542:Notable performers
426:Michel Saint-Denis
369:Commedia dell'arte
363:Contemporary dance
339:
276:
187:"Physical theatre"
1468:Acting techniques
1403:Suzuki, Tadashi;
1340:Marshall, Lorna;
1121:Artaud, Antonin;
1103:. 5 October 2023.
1064:on June 20, 2003.
716:Romeo Castellucci
657:Théâtre du Soleil
632:Shared Experience
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96:Several templates
57:
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1463:Physical theatre
1443:World Mime Index
1425:, London, 2004.
1337:
1313:Lecoq, Jacques;
1137:Barba, Eugenio;
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1066:
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1060:. Archived from
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861:Richmond Shepard
761:Niranjan Goswami
756:Philippe Gaulier
617:Legs On The Wall
612:Kneehigh Theatre
587:Frantic Assembly
522:movement of the
520:postmodern dance
508:Rudolf von Laban
485:Tatsumi Hijikata
279:Physical theatre
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786:Thomas Leabhart
781:Ireneusz Krosny
766:Jerzy Grotowski
741:Étienne Decroux
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647:Synetic Theater
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453:Jerzy Grotowski
440:Eastern theatre
434:proscenium arch
403:Etienne Decroux
385:Etienne Decroux
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