Considered as a testimonial, this article contains hints of the process developed during the pre-lab part of the Stage of Mind project in Greece. We based our work on creating a durable community with an intrinsic sense of belonging and a basic common dictionary on theatre, so as to prepare all participants to self-manage for the second part of the project, which will lead to a live performance. The main references of our work are some of the basic principles of Physical theatre (Keefe & Murray, 2007), together with structures of Devised and participatory theatre (Oddey, 1994). We also used elements and methodological tools of the Theatre of the Oppressed of Augusto Boal (Boal, 2019).
Physical theatre explores ways of awakening the vital energy of human body and mind so as to evoke creativity through forms of theatricality that come from the big traditions of European theatre (commedia dell arte, carnival, chorus-ensemble theatre etc) (Barba & Savarese, 2006), together with authentic physical presence of the artist and self-expression. Based on playfulness, our work began with games and team building activities in order to explore space, speed and qualities of motion and mutuality between the members of the group.
On the next chapter of our program, we worked on improvisation in short scenes and dialogues of everyday life, which arise spontaneously during the sessions or were given by the facilitator as a starting point for the devising process. The analysis of the objectives and the inner intentions of the role were explored equally with the intrinsic impulse and the physical response of the actor. Both physical and mental response were perceived with the same attention and care. The purpose of this process was to combine verbal articulation with physical-organic response of the body and motion, so as to achieve accurate and integrated personal expression of each actor-participant of the group.
The Image Theatre of Augusto Boal[1] is another source of inspiration and reference in our work. Static or moving, personal or in group, abstract or depicting, with or without a given theme, images were a key-tool for the introduction on acting within the group. We also used elements of Forum theatre of Augusto Boal (Boal, 2002), seeking for the response of the group and the articulation of its attitude during the devising process.
The notion of “Joker”[2] of Augusto Boal is another source of inspiration in our work. Joker-the main coach for the emancipation of the oppressed in Boal s perception, gave us the idea to open our process to challenge and subversion. During the process of devising on our story board, all participants were encouraged to stop and change the plot or the flow of improvisations in order to support common needs and agreements, which were already defined through the analysis of our story.
As it is said at the beginning of this article, we based our work on creating a durable community with an intrinsic sense of belonging and a basic common dictionary on theatre. In order to reach these goals, the team set some secondary principles described below, so as to support our main objectives:
1. All participants share the same rights and responsibilities as they participate in all the activities with no exclusions or discriminations within the group. The common goals serve the needs and skills of all participants, with care and respect on personal restrictions and difficulties, so as to support τhe effort of each participant for self-representation.
2. The second principle that arose through our work with the group is that playfulness and laughter are not secondary effects of the work. On the contrary they are considered as main tools of the creative process, as they reinforce authenticity and spontaneity in reactions. Through games and a vivid sense of humor, participants were encouraged to focus on “positive” aspects of socialization within the group, so as to gain trust and motivation for the common creative goals.
3.The third principle of our work is the “management of expectations”, so as to avoid possible frustrations that might arise during working on a difficult score. On the closure of each course, all participants were invited to offer their assessment on the work and share their feelings. The facilitator always gave positive feedback and the boost for the next step of the team, but he was very careful not to exaggerate on expectations and aspirations. The facilitator often reminded that mistakes or difficulties are there to help us discover the pathway for our work to be done. All participants were encouraged to “seek for the process and not for the results”, and to focus on playfulness and mutuality within the group rather than to give marks and grades to themselves and to others.
4. The starting point of the creative process emerged through the exploration of “here and now”, and not through a pre-given theme. Through the playful exploration of space, speed, qualities of motion and mutuality, participants were encouraged to rely on the vital energy of their body and mind, so as to help self-concentration and reduction of stress as described in the method of “Rainbow of Desire” of Augusto Boal, 1994). A soft physical warm-up introduces the survey on theatre through improvisations on images and speech. The story we devised is a composition of improvisations and common life-experience of the group. The notion of “role” within this story is a combination of the personality of each participant and his personal aesthetics and choices concerning the story and the heroes of the “game”.
5. All information on our method is experience-based, as facilitators avoid giving “outside information” such as video showing, reading on theory of theatre, or homework. Additional to this principle is that facilitators never “show” how to perform on a given task or ask for imitation of themselves. Indications, advice, or corrections on the exercises are given with care in order to encourage the participants’ authentic expression to emerge and get articulated.
Together with the productivity and enjoyment of all members of the group, the pre-lab session of the Stage of Mind program also aimed to the following objectives: empowerment of self-image, integration of physical and mental expression, reduction of stress and mindfulness, team building, acceptance, and bonding.
Thanks to the availability and creative response of all members, we worked on these objectives on a satisfactory level, opening thus a pathway for the continuation of our project.
[1] Technique of Augusto Boal fully described in his book The Rainbow of Desire (1994). Routledge, London.
[2] Technique described on Boal, A. Theatre of the Oppressed, 2019, Pluto
References
Barba, E. & Savarese, N. (2006). “Dictionary of Theatre Anthropology, Routledge, London.
Boal, A. (1994). The Rainbow of Desire: The Boal method on theatre and therapy. Routledge, UK
Boal, A. (2002). Forum Theatre in Zarrilli P. (ed.) (2002). Acting (Re)Considered. Routledge, London.
Boal, A. (2019). Theatre of the Oppressed, Pluto, London.
Keefe, J. & Murray, S. (2007). “Physical Theatres: A critical reader”, Routledge, London.
Oddey, A. (1994). Devising Theatre-A theoretical and practical Handbook, Routledge, New York.
