Puro Boal and Jacques LeCoq have both had significant impact on theater, and their sagesse and useful training have got allowed their actors to become well-equipped to get production. The philosophy of Boal, that anyone can easily act, and using movie theater as a application of political activism, and the philosophy of LeCoq, upon bringing back the emphasis on the entire body and motion in cinema have resulted in different final results, yet equally their philosophies were realized in development.
Augusto Boal wished to make use of theatre like a mechanism to get changing world.
He desired to make people aware about the oppression occurring in brazil, and challenge people to make an alteration. He believed that anyone can work, and in order to accomplish this he put his stars through a training regime of ‘de-mechanisation’ with the body ” removing chronic movements in order to react to situation and conversation in a genuine way. Among the exercises utilized as a means to do this was the spinning disk, where two people head into the group and need to ‘balance’ the spinning drive by coordinating movements.
We did this work out in class, and it was attractive allowing concentrate to be completely on the person in front of you, allowing for movements to get uninhibited.
Boal’s philosophy and practical schooling, including de-mechanisation, sensory, muscular and memory space exercises, are necessary for the kind of theatre he wished to create, and are noticed realised in Forum Theatre, Image Theatre, and his cinema company, even now, of the Oppressed. In Discussion board Theatre, Boal’s philosophy of changing attitudes toward oppression through challenging followers to step-up is noticed.
Through the Joker, he is able to change audiences to participate in actual life theatre, wonderful ideas that anyone may act are extremely important in this regard. Through Online community Theatre, audiences were able to understand oppression and take sensible ways of resolving it, through dialogue, in to real life. My experiences of Forum Cinema in class had been helpful in understanding and experiencing the practical realization of Boal’s philosophy (such as the daughter planning to go out into a party, rather than being allowed, yet the boy being allowed straight away. )
Similarly, de-mechanisation was required in terms of the practical efficiency of hidden theatre. When it comes to creating a believable circumstance to shock viewers into alter, actors themselves must be believable, and through demechanisation and things like feeling memory, this can be realised. Within an exercise of ‘educational theatre’ in class, several classmates performed a piece of hidden theatre, and it was believable, as their determination to emotions such as anger were genuine.
Similarly, LeCoq’s philosophy and practical schooling is recognized in development, as exhibited through his legacy of Mummenschatz and Theatre Para Complicite. LeCoq’s teaching strategies focused on emphasising importance of the body, and trainging his stars to be physically able to handle the task of acting genuinely. LeCoq’s beliefs of le jeu, desponsibilite and complicite allowed his actors to see the necessity of oneness between head, body, space and viewers. Exercises with the buffoon, and naivety allowed actors to see le tableau, and the character of enjoy. In class, we all experimented with the buffoon, and when we had the clown nostril on, in a state of naivety, this allowed one to be uninhibited by preconceived ideas, and allowed you to knowledge ‘play’. If the audience interacted with you, it achieved complicite, and it absolutely was great to find out how one easy exercise may achieve this.
LeCoq’s work with simple masks also highlighted his philosophy of the importance of your body, as cosmetic expression wasn’t able to be seen. In class, we also experienced LeCoq’s teaching ways of via negativa, as we had taken part in a her-chorus work out with fairly neutral masks. By being told ‘no’ to unacceptable solutions, this allowed all of us to come up with more believable, real performances. LeCoq used via negativa to encourage pupils to try and fail, and thus explore avenues they otherwise by no means would have. LeCoq’s legacy with neutral goggles can be seen in Mummenschatz theatre, where his philosophy focusing on the entire body is realized.
LeCoq’s philosophy and sensible training are realised in Theatre Sobre Complicite, where le jeu, complicite and desponsibilite are typical demonstrated. We were fortunate enough to find out ‘the Disppearing Number’ and this production was an incredible example of how all of the elements of brain, body, actor, audience, and space performed together in perfect unanimity, and the physical transitions had been seamless. It had been beautiful to look at, and featured the importance from the body in theatre, and the possibilities that brings.
As can be seen, Augusto Boal and Jacques LeCoq both have substantially impacted theatre, and this is most beneficial seen in their legacy which in turn realises their very own philosophy and trainging; Theater of the Oppressed and Cardboard boxes Citizens for Boal, and Mummenschatz and Theatre Sobre Complicite to get LeCoq.
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