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Round-by-through: Round-by-through is a simple two or three or maybe even four person movement which involves a passing under a partner's arm {through), a brushing by someone's body {by), or circling around another person {round). AKA the building blocks of Frantic Assembly. For example in our first page (305) I did a simple through movement on my line -"Hello. Hello. Its us" to show visually to the audience that we're stepping into room.

Mime: Mime is using movement to show emotion, it is to be used stylistically or realistically. We used mime in our piece to show to show emotion of the side characters. Such as fist to head banging in page 311 - "banging against your head and drowning out the..."

Mask work: A lesser known feature incorporated in physical theatre, used as a tool to encourage more physical movement out of an actor 'If actors wear a mask over their face, their physical movement becomes even more important as their facial expressions can’t be seen.' - {quote from centerstage.co.uk) After researching, I was devastated we didn't incorporate this technique in our devised piece. If we'd used the scarf as a mask over Jenny, they'd need to act physical theatre style to show a strong painful emotion, this could have been a good idea. P1 & M1

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Physical theatre sounds quite abstract, doesn't it? Well, we're about to explore what it is and why it's a helpful tool for an actor to learn and practice. Let's get into it!

What Is Physical Theatre In Drama?

Here's the physical theatre definition:

Physical theatre can be defined as a form of theatre that places emphasis on movement rather than dialogue. Although, there are many variations of physical theatre as the genre covers a very broad spectrum of work. However, simply put, it's anything that employs the human body as the centre of the storytelling process.

As a result of this, physical theatre often incorporates techniques such as mime, gesture, and modern dance to create powerful performance pieces, often highlighting complex social and cultural issues.

Practising Physical Theatre

Whilst physical theatre is focused on movement, it can also include other elements for example spoken work, music, dance, the use of media or visual images. Here's an example of a way you could incorporate physical theatre into your own performance - you could reach out to the audience in a way that challenges the so-called fourth wall, making the audience a collaborator in the action. In fact, audience participation is common in physical theatre.

That's just one suggestion but look at our list of physical theatre techniques below for inspiration.

Physical Theatre Techniques

So, if there is little to no dialogue, how do you tell the story effectively?

Here are some common physical theatre techniques/ examples of physical theatre that will help with that:

Mime

Miming is used frequently in physical theatre, and can be either stylised or realistic movement.

Gesture

A gesture can be something small, which has a big impact, or it can be a particular movement that defines a certain character.

Status

This can be shown by use of levels, distance, strength of contact or a combination of all of them to portray status effectively.

Proximity

This is simply, how close, or far you are from the other performers, which can be really impactful.

Stance

A strong stance is usually associated with strength and authority however a weak stance often shows a lack of confidence or status. This can be achieved through your posture.

Movement

Perhaps the most common technique, every movement needs to be well thought out and practiced to be effective.

Stillness

Surprisingly, a lack of movement can also be really effective to show contrast to the other characters.

Mask Work

If actors wear a mask over their face, their physical movement becomes even more important as their facial expressions can't be seen.

Dance Work

You don't need to be an experienced dancer to incorporate dance work into your performance. It's more about the movement and meaning behind it than your ability to dance well.

Motif

This is the repeated use of a movement pattern which reminds us of the meaning and central theme of the performance.

Physical Theatre Companies

Here are 3 of the most well-known UK-based physical theatre practitioners:

DV8

DV8 are a renowned London-based dance-theatre company who integrate interviews, current events, and stylized movement to address social, psychological, and political issues. They have toured world-wide, showcasing 18 theatre pieces, and have also lent their unique theatrical style to film, creating 4 different award-winning films.

Complicaté

Complicité is an international touring theatre company, based in London. It was founded in 1983 by Annabel Arden, Fiona Gordon, Marcello Magni and Simon McBurney. The company has played in more than 40 countries across the world, won more than 50 awards and been described as '...the most influential and consistently interesting theatre company working in Britain' by The Times.

Frantic Assembly

Frantic Assembly physical theatre has become one of the UK's most successful theatre companies. Their ambition is to remain committed to making bold and brave theatre. They have toured all over the UK, and have worked in over 40 countries worldwide, collaborating with inspiring artists.

Frantic Assembly are so highly regarded that they are studied as leading contemporary theatre practitioners on five British and International academic syllabuses.

Look Out For Physical Theatre

You can spot moments of physical theatre in lots of pieces of theatre, start looking out for where it's been used. It could be movement in between scenes or a sequence of movement which suddenly interrupts a scene. Or perhaps, you might notice, the characters are all using stylised gestures throughout an otherwise naturalistic performance.

Question why these moments of movement have been included in the performance and if they work effectively? Do they enhance your experience as an audience member and add to the play?

Is Physical Theatre Right For You?

You now know what physical theatre is, but is it right for you? Using your body to tell stories is a vital part of being an actor or performer and learning physical theatre techniques will help develop your acting skills whilst adding to your acting toolkit. It's a very transferable skill and you'll notice the benefits in all your future work.

If you're developing a section of physical theatre in a show or you just want to learn more about how to effectively move your body during performances, definitely give physical theatre a try!

Now You Know Everything About Physical Theatre

That was our guide on physical theatre, we hope you've enjoyed learning what physical theatre is, how you can practice it and which techniques are used. Be bold and brave with your work, and try out different elements of physical theatre and see which work for your future performances. Best of luck!

Allow Center Stage to sky-rocket your career and surface your talents to casting agents, booking agents, directors, and modelling agents worldwide. Pre-register by clicking the button below!

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Physical Theatre: What Is Physical Theatre? - Center Stage

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Physical theatre sounds quite abstract, doesn't it? Well, we're about to explore what it is and why it's a helpful tool for an actor to learn and practice. Let's get into it! Here's the physical theatre definition: Physical theatre can be defined as a form of theatre that places emphasis on movement rather than dialogue.

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In this part of the play, Jenny has just been sent to hospital and now under medical care. The characters around her at first had bad things to say about her and now after her accident, they feel sorry. Their rude attitude towards her is still lingering in some but after her fall, we feel closer to her then ever before. Jenny is now one with Ray and Sally, hospitalized and practically in pieces. The group visit her in hospital and during that time they come up with an evil plan behind her back. They plan to take pictures of her, framing her like one of their art pieces. The group snatch daily images of her worn face and plan to sell them for a great profit. During this time, the group make friends and lovers along the way but it seems Jenny's disfigured body takes most of their interest. Then when Jenny finds out, she looks at the photos and begins to encourage it. She is slowly coming into her own and proving her dominance over the group. The old Jenny is back from the brink. The extract ends with Jenny leaving the hospital still limping and bruised but capable and strong none the less. She enters the taxi and the group support her during the ride back home. P2

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SCOTT GRAHAM
Artistic Director

"We were thrilled to find ourselves working with Mark Ravenhill. We were having a drink after a show at the National Student Drama Festival and Mark casually suggested we should work together."  P1

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WWW

I think the performance went really well! Our enthusiasm and effort felt great and I'm happy with the way it went. Throughout the rehearsal stages we kept coming up with more movement to embody the characters, like Jenny's limp gradually getting better for example. I think small details like that really came through in the performance. I did well to never forget a line and I really gave it my all on performance day. The audience enjoyed it too even though it was saddest and longest than all the rest.

EBI

Where we didn't go so well in was our lines being practiced 100%. During the rehearsals leading up to our performance it was clear we had work to do for the second half of the script. I believe a mixture of the larger then average script, people being missing from lesson and a few people losing their lines and breaking their scripts tributed to a few miss steps on performance day.

There were also parts where we should have added extra physical theatre techniques, ie Frantic Assembly mask work on page 306. "... Her limbs in plastic. Her neck in plastic. Her mask..." If we'd used the scarf and rapped it around her head to make her do more physical movements.

What we've learnt for next time is to keep on top of our lines and make a line learning deadline by week 5. Also find any places to add physical theatre next time to stretch our possible marks as far as we can.

P4, M4, P5 & P6

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P5

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In this chat we discussed which pages will be given to which group member. We assigned pages to work on ready to practice the physical theatre and staging ideas in the next lesson.

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Pool (no water) Rehearsal stages Week 1 - 3 

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Pool (no water) Rehearsal stages Week 1 - 3 

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M2 & M3

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M2 & P3

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Excellent annotation of script - showing your physical movement within the narrative. M2 & P3

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Song - Bubble by King Creosote & Jon Hopkins 2011

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Song - Bubble by King Creosote & Jon Hopkins 2011

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A song decided by me to encapsulate the sound scape in the opening morning routine (page 305 - 307) The sea gul skwarks theoretically 'wakes the characters up in the morning'. The idea sparked from the lyrics, specifically the first lyric "I won't let you fall, as low as I've been" the tempo matched with the movement and the lyrics matched the point in the plot (fall as in the literal falling down of Jenny) How does it fit with the physical movements?

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King Creosote & Jon Hopkins - Bubble (HD)

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Directed By Elliot Dear @ Blinkink King Creosote & Jon Hopkins are to release Bubble as the new single from their much acclaimed debut collaborative album, Diamond Mine. The 'heart-tearingly gorgeous, soft and melancholy track' is available via digital download. http://digital.dominorecordco.com/search/release.php?release_id=2293 Buy the album 'Diamond Mine' here - http://digital.dominorecordco.com/search/release.php?release_id=2217 Domino Recording Company is an independent record label founded in 1993.

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Founded in 2001, Artistic Director Amit Lahav led the now nationally acclaimed theatre company making 7 critically acclaimed shows, 2 films and 2 plays.

"Gecko is currently creating their eighth stage production, commissioned by the National Theatre, exploring themes of racism, family, migration, and home."

"... We developed our skills and cultivated a very definite and exciting style through the process of making work and facilitating and leading workshops relating to our style of devising and performance.”

Amit Lahav, 2001. P1

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Gecko is an award-winning and internationally acclaimed physical theatre company, led by Artistic Director Amit Lahav. Founded in 2001, the company has created 7 critically acclaimed shows, 2 Associate Shows and 2 films. Gecko is currently creating their eighth stage production, commissioned by the National Theatre, exploring themes of racism, family, migration, and home.

As an artist-led organisation, we invest a high proportion of revenue in our work, and it is this artistic product that drives all conversations and decisions. The length of creative process and longevity of a production means that work in development carries enormous significance in all aspects of the company. The creation process is incredibly rigorous to ensure the high quality demanded by Gecko; testing, learning, evaluating, and refining throughout. Through experimentation, craft and collaboration, Amit has created an organic process that highlights the power and intangible value of imagination, allowing our diverse freelance team of devising performers, creatives, and technicians to work alongside Amit and to bring their own skills, background, experiences and culture into the creation of our work. This devising process oscillates between intense periods of experimentation, reflection and technical development in and out of the rehearsal studio.

The Gecko identity is based on a deep interest in human beings and their extraordinary and challenging journeys to express feelings and emotions in society. Our work is made by and for people from a multitude of cultures in an attempt to represent everyone, regardless of age, gender and background. We use multiple languages in our work and tell universal stories through movement and emotion, sound, lighting and set design, allowing people from all backgrounds and nationalities to access our work.

Our work is inspired by our audiences and explores and reflects issues relevant to a modern diverse society; we want to speak directly to the individual and for them to engage fully with the content. We want to remove barriers to this engagement for as many people and cultures as possible. We want audiences to experience a unique, high quality theatrical experience.

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Gecko is an award-winning and internationally acclaimed physical theatre company, led by Artistic Director Amit Lahav . Founded in 2001, the company has created 7 critically acclaimed shows, 2 Associate Shows and 2 films. Gecko is currently creating their eighth stage production, commissioned by the National Theatre, exploring themes of racism, family, migration, and home.

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Jan 14 2022

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Frantic Assembly

Frantic Assembly physical theatre has become one of the UK’s most successful theatre companies. Frantic assembly have done collaborations with over 40 countries worldwide.

"We began with little more than a fierce work ethic and a desire to do something different and to do it differently."

- Scott Graham, Artistic Director and Co-Founder

They also collaborated on other productions and provide the movement direction on the award-winning National Theatre of Great Britain production The Curios incident of the Dog in the Night-Time.

It is about the ethos of collaboration. Their constant desire to improve on their work and find new and interesting ways to impress their audience. They empower the actors and the physical theatre stretches their imagination to express themselves more.

It is about telling stories in a voice we don't always hear and about finding talent in places we don't always look

P1 & M1

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Can you be terrified and fearless? That is how we started Frantic Assembly. From a reckless leap into the unknown 25 years ago, Frantic Assembly has develo

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Lighting/Music table For Pool (no water)

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Lighting/Music table For Pool (no water)

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Lighting & Music table for Pool (no water)

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The Company began Complicite Associates (their annual program) in 2015. Each year, Complicité will work with an emerging artists to provide production and artistic support. Complicite and other artists produce a new show every year which pushes both the artist’s own work and style, as well as stretching Complicité’s theatrical boundaries.

'These many diverse Associates - as they’re known – have developed and evolved a shared creative language, which provides an anchor for the explorative work that the Company has become famous for and which foregrounds every piece they bring to the stage. This focus on a collaborative devising process has meant that Complicité has also become famous for a distinctive, visually rich stage language, which layers physically beautiful performances and tightly choreographed ensemble work with innovative lighting, sound and video design.'

Simon McBurney contributed to the Company’s aesthetic and to their unique process in developing ideas. Their collaboration is an ongoing source of inspiration for the Complicité company.  D1

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Complicité is committed to protecting your personal data and being transparent about the data it holds about you. The purpose of this policy is to explain how Complicité collects, uses and protects any data we collect from you directly and from third parties.

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A production by The Paper Birds

Cast: Georgie Coles & Josie Dale-Jones
Directed by: Kylie Perry

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The Paper Birds: QUICK-CLIPS - Choreo-Cues in 'Thirsty' (2018)

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Good exercise to do when watching a televised performance. P1 & M1

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During the end of our rehearsal time we spark creative ideas such as puppetry. Inspired from paper birds we thought using maybe sock puppets or larger paper puppets in a scene or two could be a fun touch. But we ended up scratching that idea because it didn't feel like frantic assembly.  M2 & P3, M3

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Here on the lighting and sound cue table we thought of possible designs of our gobo lighting to fit the play.
The sporadic nature of the dotted circles came from the idea that the Jenny's character is splotchy and damaged by her injuries.
We decided on our motif as we change between Jenny's we should add a pink Gobo effect, to illustrate an obvious change in tone, and also depicts Jenny's bruised body being uncovered from under her blue scarf. M3

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08/12/21
Here was the first time we discussed adding gobos to blue light. This sparked the later integrations of pink light and gobos in our lighting and sound table.

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The idea that the scarf could be used to show change in Jenny helped allow us to think of more physical movements. From Ashleigh to Alfie to Christian. They rehearsed a movement motif to illustrate a change of character.
The scarf prop could also be used in creative ways such as a sling or dress. This idea stemmed from the ‘pass the paper exercise’ we did in class. Good referencing back to physical theatre workshop exercises. M3

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The interchanging uses of the scarf stemmed from the pass the paper exercise we did in class. Also the costume changes in 'Thirsty' influenced my idea to use a piece of clothing to represent character - a blue scarf to represent Jenny. D2

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M2

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This idea stemmed from the earlier scene as me and Alfie move Christian's head Frantic Assembly style on page 314. More detail needed please.How like Frantic did you move his head?

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Used to show Jenny in an exposed state - here she feels pampered with.

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Yellow flashes fill the stage (page 306)

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Yellow flashes fill the stage (page 306)

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To indicate the university flashback we chose a yellow flash with half a second intervals. This spiraling effect clearly defines a moment of change and we took inspiration from the cliché in films where the main characters have a warped effect overlayed with a wobbling bass note and wind chimes to show them reminiscing about something. D2 & M3

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Week 2 P2

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In this lesson we focused on possible places in the script to use direct address.

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Our initial 'beach scene' lift into flashback

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Our initial 'beach scene' lift into flashback

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Now replaced by the Swimming scene (Page 308)
Week 3. M2 & M3

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Single White Spotlight on Me & a School Bell Sound (page 306)

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Single White Spotlight on Me & a School Bell Sound (page 306)

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Sound cue - "The purple of the bruise". P. 306 Used to indicate the university setting. It was obvious to pick a school bell sound as it clearly shows a change of scene.
White spot light also makes my lines seem more significant and adds tension before the bell sound. Inspired by scenes in 'Thirsty' by The Paper Birds D2

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M1

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Song - Mister Sandman by The Chordette 1954

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Song - Mister Sandman by The Chordette 1954

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A song decided by Christian to compliment the 'happy go lucky' nature of page 307 on the line "catalogue - sale!" This deliberate change in mood keeps the performance alive and hopefully makes more impact to the later scenes where the characters are at their lowest. Describe the physical theatre at play whilst this song was playing. How did it enhance meaning?

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M2 & M3

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It never became a movement but I thought it would make these lines have more sense

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Pink Gobo light on Jenny's change (page 307)

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Pink Gobo light on Jenny's change (page 307)

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Used to resemble Jenny's exposed bruises - hence the pink light and splotchy gobo.

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Song - Don't Worry Be Happy by Bobby McFerrin 1988

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Song - Don't Worry Be Happy by Bobby McFerrin 1988

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A song decided by Christian to add a contrapuntal, up beat sound to the line - "calmest I've been in my entire life" (page 310)
(contrapuntal meaning, music which doesn't match the tone of the dialogue or action of the scene, usually a film term) This was used to make these scenes feel more lively.

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Bobby McFerrin - Don't Worry Be Happy (Official Music Video)

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Used to show the water she's swimming in, and also as a motif to indicate flashback.

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Song - We'll Meet Again by Vera Lynn 1943

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Song - We'll Meet Again by Vera Lynn 1943

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A decision made by Jake to add a somber and sad undertone to the final scene. (page 316) The lyrics "we'll meet again some sunny day" makes the characters seem hopeful and the context behind the song being - WW2 is almost at its end and the wives of the soldiers anticipate their arrival back home. The idea that Jenny metaphorically went to war by staying away in hospital connects sweetly to this sad song.

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Another idea which didn't go anywhere was this song suggestion. I believed the lyrics and tone of the song would fit the scene on page 311

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 White Camera Flash Full Stage (page 307 + 309)

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 White Camera Flash Full Stage (page 307 + 309)

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Used in conjunction with a camera flashing sound to make the audience feel overwhelmed, therefor aligning us with Jenny in this scene (P. 309) D2 & M3

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M2

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Blue & White Light Splitting the stage (page 308 - 310)

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Blue & White Light Splitting the stage (page 308 - 310)

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The split stage is used to show the two indicate two rooms. By using blue on Jenny's side shows she is still in the hospital and by using white on our side shows we are still outside the hospital.

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White Light fills the stage until Jenny's transition motif and the final scene (page 312 - 315)

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White Light fills the stage until Jenny's transition motif and the final scene (page 312 - 315)

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Used to show a break in the action.

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Purple Light Fills The Stage for The Ending Scene (p. 316)

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Purple Light Fills The Stage for The Ending Scene (p. 316)

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Used to resemble Jenny's bruises and to indicate to the audience that the end of the performance is near.