In reaction to our groups devising process, our final performance became very reflective of the group’s members and their relationships with eachother. As a result, the piece became very Meta- theatrical in the sense that we were intrigued to create a short performance based upon the premise that in our chosen group and setting it was impossible to create what many would call a piece of ‘theatre’. Instead it reflected our group’s natural uncertain and dysfunctional relationship through means of a naturalistic setting and stylised physicality. As a result the piece uses ideas from post- modern culture and its influence in 21st century devised performances, ‘different from what might be considered more traditional, text based ‘theatre’’ (Heddon, 2005: 190).

I believe our piece portrays similar views to that seen in collaborative post- modern work, portraying an unstable and fragmented reality with no fixed meaning, thus allowing reality to be shown through its visual and expressive overtones, ‘Hyperreality is a special kind of social reality in which a reality is created or simulated from models, or defined by reference to models – a reality generated from ideas. The term has implications of ‘too much reality’ – everything being on the surface, without mystery; ‘more real than reality’’ (Andrew Robinson- Jean Baudrillard: Hyperreality and Implosion).

Our piece consists of a variety theatrical techniques we encountered during our studies into physical theatre and its practitioners, including Meyerhold’s work on Biomechanics and Laban’s effort actions. In contrast, we identified that we wanted to perform realistic movements in order to stress the pieces reaction to real life events. For example, we incorporated naturalistic shapes (each representing a group member and their behaviour) that are instantly recognisable to an audience member, which for most part created moments of comic relief.

Overall I was pleased with what my group had produced from our understanding of physical theatre practices and our ability to rehearse demanding theatrical techniques in order to create an entertaining piece of theatre that demands attention from its audience through visually striking choreographed movement.

References

Cease fire magazine: An A to Z of Theory | Jean Baudrillard: Hyperreality and Implosion by Andrew Robinson (2012) available at:

https://ceasefiremagazine.co.uk/in-theory-baudrillard-9/

(Accessed April 2017)

Heddon, D. and Milling, J. (2005) Devising Performance – A Critical History.

– Jordan & Michael

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s