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We explored the elements of fire and earth, and I found fire particularly fascinating. The guided imagery of a match, sparkler, or bonfire emphasized the idea of restrained energy, which intrigued me. There’s a skill in portraying that simmering anticipation—fire’s potential for destruction and the choice of whether or not to unleash it. I also enjoyed observing earth, as it carries a strong sense of grounding. Compared to air from the previous lesson, earth felt like its complete opposite. While air was delicate and light, earth had a vast, weighty presence, creating a striking contrast in dynamics.

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We began by exploring the elements, starting with air and water. It was fascinating to see the diverse ways people interpreted them, particularly air, as it embodies a strong sense of freedom. Personally, I connected more with water, as I feel that too much freedom can sometimes be restricting. While water flows and adapts, it still remains contained within certain boundaries. When attempting to embody air, I found my movements felt uncertain and scattered. Although I was able to ‘let go,’ I still felt a deep desire for grounding and direction.

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Lecture/Seminar 2 Notes – 26th February 2025 (D101)

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Lecture/Seminar 2 Notes – 26th February 2025 (D101)

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Topic: Reimagining Ubu Roi to Critique Modern Systems of Power and Injustice – Part 1

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Preparation for the Session

Before attending, we were required to:

- Read Ubu Roi by Alfred Jarry to understand its themes, characters, and structure.

- Review additional materials on Ubu Roi (Moodle) for historical context and performance techniques.

- Take notes on its key elements and how they connect to contemporary social and political issues.

- Reflect on how Ubu Roi can be adapted to critique modern themes such as class, power, and justice.

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Overview of the Lecture/Seminar

This session explored the role of theatre as a tool for addressing contemporary crises, including climate justice, racial equity, and political activism. We examined Alfred Jarry’s Ubu Roi as a case study—anarchic, grotesque, and unapologetically satirical—investigating its historical impact and how its critique of corruption remains relevant today.

Key Questions & Themes:

- How does theatre function as a political act?

- What responsibilities do theatre-makers have in addressing today’s crises?

- How can historical texts like Ubu Roi be reimagined to critique modern power structures?

- What is the role of the grotesque in performance, and how can actors use it to challenge dominant narratives?

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1. Case Study: Ubu Roi and its Political Context

- Written in 1896 as a radical satire of political corruption in France.

- Its premiere caused outrage due to its crude language, chaotic structure, and attack on authority.

- A forerunner of the Theatre of the Absurd, Dadaism, and Surrealism.

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2. The Grotesque in Ubu Roi

Defying Theatrical Norms

- Exaggeration, crude humor, and anarchic storytelling break away from realism.

- Challenges authority by turning political tyranny into farce.

Exposing Power & Corruption

- The grotesque aesthetic reveals the absurdity of unchecked power.

- Disrupting traditional theatre forms makes political critique more unsettling and engaging.

Pushing Performance Boundaries

- Heightened physicality and distorted voice work push beyond naturalism.

- Encourages actors to embrace discomfort and absurdity as a performance tool.

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3. The Grotesque & Political Relevance Today

Modern Parallels

- How do today’s political figures and systems echo the absurdity of Ubu Roi?

- Examples of grotesque figures in contemporary politics.

The Grotesque in Activist Theatre

- Examples of contemporary theatre using grotesque elements to critique injustice:

- The Resistible Rise of Arturo Ui (Brecht) – political satire on dictatorship.

- Slava’s Snowshow – physical theatre & surreal imagery as resistance.

- Performance art in protests – using exaggerated physicality to subvert authority.

Reinterpreting Ubu Roi for Today

- How might actors adapt Ubu Roi to reflect contemporary issues?

- Climate denial & environmental destruction.

- Media manipulation & misinformation.

- Racial injustice & authoritarianism.

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4. Practical Exploration & Group Work

Case Study Analysis

- Examining modern performances that use grotesque techniques for social critique.

Scene Reinterpretation

- Groups rework key scenes from Ubu Roi with a modern political lens.

- Examples:

- Corporate greed & climate inaction.

- Political populism & propaganda.

- Social media misinformation & absurdity.

Embodied Exploration

- Physical exercises in grotesque performance (exaggeration, distortion, absurdity).

- How movement and voice manipulation shape political satire.

Reflection

- How can the grotesque be used as a tool for activism and change?

- What ethical considerations arise when using satire to critique power?

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Key Takeaways

By the end of the session, we developed an understanding of:

✅ The grotesque as a political tool in theatre.

✅ How historical works like Ubu Roi still resonate in today’s world.

✅ How to engage with complex political themes through performance.

✅ Expanding the actor’s toolkit to embrace grotesque techniques for satire and resistance.

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Lecture/Seminar 1 Notes – 19th February 2025 (D101)

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Lecture/Seminar 1 Notes – 19th February 2025 (D101)

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Topic: Urgent Contemporary Issues – Climate, Racial, and Political Justice in the Context of Commedia dell’Arte & The Servant of Two Masters

Preparation for the Session

Before attending, we were required to:

Read The Servant of Two Masters (Adapted by Marco Luly).

Watch & read materials on Commedia dell’Arte (Moodle).

Take notes on key elements: improvisation, satire, physicality.

Reflect on how The Servant of Two Masters can be adapted to modern themes.

Overview of the Lecture/Seminar

The session explored how Commedia dell’Arte can be a powerful tool for addressing climate justice, racial inequality, and political corruption. Through The Servant of Two Masters, we examined how stock characters and grotesque physicality still resonate today.

Key discussions:

How Commedia dell’Arte historically functioned as political satire.

How power, class, and oppression operate in The Servant of Two Masters.

How improvisation and exaggeration can address modern issues.

Can classical comedy still challenge authority and injustice today?

1. Historical Context – Commedia dell’Arte as Political Theatre

Originated in 16th-18th century Italy, performed by traveling troupes.

A theatre of resistance—mocking aristocracy and exposing corruption.

Influenced later political theatre (Brecht, Dario Fo, contemporary activist theatre).

Stock Characters & Power Structures

Masters (Vecchi): Aristocracy, greed, outdated authority (Pantalone, Il Dottore).

Servants (Zanni): Tricksters who challenge power through wit and resilience.

Lovers (Innamorati): Represent societal pressures and romantic idealism.

Modern Parallels: How do these roles reflect today’s class and social hierarchies?

2. The Servant of Two Masters – Power, Exploitation & Satire

Plot Overview: Truffaldino, a clever and hungry servant, manipulates the system to serve two masters.

Social Critique:

Class & Economic Struggle: Truffaldino’s hunger = economic inequality.

Manipulating Power: Truffaldino’s adaptability mirrors modern gig workers.

Exploitation & Corruption: How do these themes resonate today?

Reimagining the Play:

How do gender and racial dynamics shift in a modern adaptation?

How does Truffaldino’s struggle reflect current economic systems?

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Gestus – Brechtian Technique

- Definition: A clear character gesture or movement that captures a moment or attitude rather than focusing on emotion.

- Every gesture matters – Brecht and his actors studied rehearsal photos to ensure the audience could understand the scene through movement alone.

Key Principles:

- Actors don’t "become" the character but show a type of person (e.g., "The Soldier," "The Girl").

- Focus on social roles and external behavior, not deep emotional motivation.

- The audience is encouraged to judge the character and their situation, rather than simply empathizing.

- Gestus = gesture + social comment.

- Example: A soldier saluting is a simple gesture.

- A soldier saluting while stepping over dead bodies becomes Gestus, making a statement about his role in war.

- Mother Courage’s silent scream – Instead of raw emotion, it makes us question why she must suppress her grief.

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Jarry’s Linguistic Experiments

- Pataphysical Language – Reworking speech to challenge reality.

- Example:

- A bicycle = “that which rolls”

- The wind = “that which blows”

This approach reshapes perception, much like Brecht’s techniques reshape how we engage with theatre. 🎭

Acting Lab Notes – Gestus & Linguistic Experiments

In today’s session, we explored Gestus, a Brechtian technique where gestures and movements convey attitude and meaning rather than deep emotion. Instead of fully embodying a character, we focused on showing a type of person—allowing the audience to judge the character’s role in society.

We looked at how every gesture matters and studied how Brecht’s actors used photographs in rehearsal to make sure each movement clearly told a story. One exercise challenged us to communicate a scene’s meaning using only physicality—without dialogue or overt emotion. We questioned: Can the audience understand what’s happening just by looking at us?

We also experimented with Gestus as social commentary—for example, a soldier saluting isn’t just a salute; if done while stepping over bodies, it becomes a statement on war. Another striking example was Mother Courage’s silent scream, which made us think: Why must she suppress her grief? Instead of losing ourselves in the emotion, we had to step back and analyze the situation critically.

Towards the end, we explored Jarry’s linguistic experiments and pataphysical language—where words were redefined in abstract ways. For instance, a bicycle became “that which rolls” and the wind was described as “that which blows.” This exercise pushed us to rethink language and its role in shaping perception.

This session challenged me to approach performance from a more analytical and intentional perspective, ensuring that every movement and word serves a purpose beyond

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this was our first time being in the theatre for rehearsal purposes.

we started off with a vocal warmup led by Phoebe. this helped us gauge the power needed vocally to perform in a professional theatre. we then started walking around the space, familiarising ourselves with the stage and mezzanine. we then split off into two groups and began to stage the Doctors introduction of the Servant of Two masters utilising the levels of the mezzanine.

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Phoebe took us to the 3D workshop, where we will collaborated with Ash and Tayson to create Commedia dell’Arte-inspired masks.

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Commedia dell'Arte: Character Types

Commedia dell'Arte is a traditional form of Italian theatre featuring stock characters with exaggerated personalities, physical traits, and social roles. These characters are often categorized into three main groups: Servants (Zanni), Masters (Vecchi), and Lovers (Innamorati).

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1. Zanni (Servants) – The Tricksters & Buffoons

Zanni are comedic servant characters known for their foolishness, physical agility, and schemes. Their primary role is to serve their masters while creating chaos.

Arlecchino (Harlequin)

- Role: Clever, mischievous servant who outsmarts his master.

- Personality: Playful, quick-witted, acrobatic, greedy but good-hearted.

- Costume: Patchwork, brightly colored outfit with a black mask and a slapstick (batocchio).

- Physicality: Light, nimble movements with quick, darting motions.

- Motivations: Food, love, and playing tricks.

Brighella

- Role: A cunning, sometimes villainous servant or innkeeper.

- Personality: Sly, opportunistic, and ready to manipulate others for personal gain.

- Costume: Green and white livery with a half-mask.

- Physicality: Shifty, sneaky movements, always calculating.

- Motivations: Money, power, and mischief.

Colombina

- Role: A witty, resourceful maid (often Arlecchino’s love interest).

- Personality: Sharp-tongued, independent, flirty, and often smarter than her master.

- Costume: Simple dress with an apron, sometimes a small mask.

- Physicality: Graceful, yet grounded movements.

- Motivations: Love, amusement, and exposing foolishness.

Pulcinella

- Role: A hunchbacked trickster, sometimes servant, sometimes master.

- Personality: Crude, sarcastic, unpredictable—sometimes violent, sometimes a victim.

- Costume: White baggy clothes with a black mask and hooked nose.

- Physicality: Slouched, jerky movements, often hunched over.

- Motivations: Self-preservation, pranks, and food.

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2. Vecchi (Masters) – The Old Men & Authority Figures

The Vecchi are the masters, typically wealthy or powerful, but they are often foolish and easily outwitted by their servants.

Pantalone

- Role: A greedy, lecherous old merchant.

- Personality: Miserly, obsessed with money, and often trying to marry young women.

- Costume: Red outfit, long black cloak, tight-fitting trousers, and a long-nosed mask.

- Physicality: Bent over, shuffling walk, protective of his money.

- Motivations: Wealth, women, and maintaining control.

Il Dottore (The Doctor)

- Role: A pompous scholar, lawyer, or doctor who pretends to be wise but talks nonsense.

- Personality: Long-winded, overly intellectual, and ridiculous in his reasoning.

- Costume: Black academic robes, a short half-mask with a round nose.

- Physicality: Slow, heavy movements, lots of hand gestures while speaking.

- Motivations: Showing off intelligence, eating well, and pretending to be smarter than he is.

Il Capitano (The Captain)

- Role: A boastful, cowardly soldier who exaggerates his bravery.

- Personality: Loud, arrogant, full of ridiculous war stories, but actually a coward.

- Costume: Military uniform with a plumed hat and a long, pointed mustache.

- Physicality: Large, exaggerated strides, puffed-up chest, but runs away when scared.

- Motivations: Impressing others with false heroism, avoiding actual conflict.

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3. Innamorati (The Lovers) – The Romantic Leads

The Innamorati are the young lovers, always beautiful and elegant but often melodramatic and clueless. They exist to be in love and face obstacles to their romance.

Isabella & Flavio (or other names, depending on the play)

- Role: Young, noble lovers who are deeply in love but face comic misunderstandings.

- Personality: Passionate, poetic, vain, and easily distressed.

- Costume: Elegant, fashionable Renaissance clothing, no masks (unlike other characters).

- Physicality: Graceful, exaggerated romantic gestures, fainting or swooning.

- Motivations: Love, dramatic emotional expression, and proving devotion.

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4. Additional or Hybrid Characters

La Ruffiana

- Role: A gossiping old woman, often interfering with the lovers.

- Personality: Meddlesome, nosy, sometimes a former courtesan.

Il Pedrolino (Pierrot)

- Role: A sad, gentle servant (later evolved into the modern "Pierrot" clown).

- Personality: Kind-hearted but often the butt of jokes.

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Key Themes & Performance Style

- Masks: Most characters wear masks except the lovers.

- Improvisation: Dialogue and actions are loosely structured with room for improvisation.

- Exaggeration: Movements, voices, and emotions are over-the-top for comedic effect.

- Physical Comedy: Slapstick, pratfalls, and exaggerated gestures are common.

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Impact & Legacy

Commedia dell’Arte has influenced modern theatre, including pantomime, vaudeville, and slapstick comedy. Characters like Harlequin, Pierrot, and Pantalone continue to appear in pop culture, from cartoons to modern clowning.

Would you like any specific details on performances or modern adaptations? 🎭

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we were introduced to the different character types in commedia dellarte.

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Clown State & Awareness

Clown State – A heightened way of being beyond everyday "normal," where emotions and thoughts arise spontaneously. It can bring:

Curiosity, wonder, and playfulness

A meditative quality or deeper sensory awareness

Clocking – Noticing, acknowledging, and connecting with the moment.

Accepting the Flop – Embracing failure without resistance.

Exercises for Awareness & Play

Physical & Vocal Warm-up – Isolating body parts to enhance movement control.

Game: Keepy Uppy – Full commitment to the game, staying engaged.

HARA (The Center) – Finding and physically imagining the body's center, then shifting focus upward.

Exploration

Movement Qualities:

Suspension

Contraction

Expansion

Opening up the front of the body

Heightened Perception:

Using peripheral vision (tested with fingers)

Practicing ‘seeing’ beyond just looking

Exploring bafflement – embracing confusion and openness

This session deepened the understanding of clown presence, play, and physical awareness. 🤡✨

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Here's a note-taking style version for your Padlet journal:

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Session Breakdown

- Arriving & Grounding – Focus on breath, physical awareness, and connection with the ground.

- Group Sharing – Each person shared their favourite food, colour, and something that brings them joy.

- Physical Warm-up – Engaged with body awareness, visualizing bones, and sensing weight.

- Movement Exploration – Practiced expansion/contraction, suspension, and flow.

- Depth & Sensation – Noticed skin, flesh, and bone interactions.

- Vocal Warm-up – Worked on voice projection, sound play, and annunciation.

- Full Commitment to Play – Engaged in "Keepy-uppy" with full energy.

- Gestures & Sounds – Reflected on what was engaging, funny, and effective.

- Connections & Energy – Explored relationships with fellow players and the audience, using oppositions and extremes.

- Directional Movement – Practiced clarity and precision in physical execution.

- Clap Game – Focused on listening, playfulness, improvisation, and freedom to explore ideas.

- Group Feedback – Reflected on observations and what resonated.

- Final Sharing – Revisited initial sharing exercise, incorporating lessons learned. Observed changes in presentation and personal expression.

This session set the stage for clowning exploration, strengthening spontaneity, connection, and expressive clarity. 🎭✨

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We were introduced to the word Élan—meaning energy, style, enthusiasm. It represents contact, suspension, good energy, and pleasure.

We worked through a series of exercises, including:

Breath

Fully engaging with 'the game'

Building, focusing, and directing energy

Gesture

Exaggeration

Connection with ourselves and the audience

Listening – to our impulses, physically and aurally, and to our audience

Finding the game and playing it whilst also finding pleasure in performance