If Beckett did get the idea from waiting for a resistance, then you could set in the war
Or after a nuclear apocalypse
Someone waiting for someone to rescue you.
You don't know who's alive
Godot is what give them hope
Sunday, 21 January 2018
Applying Berkoff's Physicality
Influenced by Physicality
The actors become the props
We don't have a rope it's all mimed, like in this sketch:
Could we have both people playing him?
Check the script. Would that be Berkoffesque?
Do we even need a basket with all the food? Some real physicality required by opening the mouth and munching the teeth, making the sound.
Between Vladimir and Estragon
"Our elongations, our relaxations"
THE HANGING SCENE
The rope there must also be mimed.
The actors become the props
We don't have a rope it's all mimed, like in this sketch:
Could we have both people playing him?
Check the script. Would that be Berkoffesque?
Do we even need a basket with all the food? Some real physicality required by opening the mouth and munching the teeth, making the sound.
Between Vladimir and Estragon
"Our elongations, our relaxations"
THE HANGING SCENE
The rope there must also be mimed.
Friday, 19 January 2018
Research on Berkoff
YOUTUBE PLAYLISTS
Steven Berkoff and the Theatre of Self-Performance
(links with Grotowski)
ARTICLES
Writing for The Independent on Metamorphosis
ACTORS HE ADMIRES (which he says this generation knows nothing of):
ON PHYSICAL THEATRE
From BBC GSCE Bitesize:
From his website:
Steven Berkoff and the Theatre of Self-Performance
(links with Grotowski)
ARTICLES
Writing for The Independent on Metamorphosis
ACTORS HE ADMIRES (which he says this generation knows nothing of):
ON PHYSICAL THEATRE
From BBC GSCE Bitesize:
Physical theatre can also be used in the way director, Steven Berkoff used it in The Trial, to provide the scene, whether this is furniture for a room or a busy street. The use of people to create everything allows great opportunities for dynamic impact. In The Trial, it was the cast, very simple frames and a rope on an empty performance area that created the whole staging.
From his website:
Though uniquely his own, Berkoff's production style descends from the tradition of presentational directors
This heritage rejected twentieth century realism, choosing blatant theatricality over subtle nuance. Such directors bridged the divide between modernism and what was to become post-modernism, evolving into, what Annette Lust calls post-modern mime. She cites Berkoff's mentor Jaques Le Coq as key to this development and describes chief characteristics of "post-modern mime" in her book From Greek Mimes to Marcel Marceau and Beyond (2000). Lust describes sixteen specific traits; Berkoff's work fits every one of her descriptions, including
There is a recycling or new use of existing forms no longer regarded as separate arts. For example, the frequent crossbreeding with other art forms -- such as dance, music, performance art, circus, puppetry, film, and pictorial art -- creates an artistic pluralism that is not necessarily integrated but offers a new vitality.(111)
In 1973, Berkoff and The London Theatre Group declared their own mission statement, which places them within Lust's parameters:
To express drama in the most vital way imaginable; to perform at the height of one’s powers with all available means. That is, through the spoken word, gesture, mime and music. Sometimes the emphasis on one, sometimes on the other. (quoted in Elder 39)
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Saturday, 6 January 2018
Godot Performance - Dresden 1987
The premiere in DDR = GDR (German Democratic Republic)
Directed by Wolfgang Engel (DNN interview)
INFORMATION:
Directed by Wolfgang Engel (DNN interview)
INFORMATION:
In 1995 he also directed Beckett's Happy Days.
A useful book on how the themes connect to the issues of censorship in the country.
Entries in the International Reception To Godot.
A useful book on how the themes connect to the issues of censorship in the country.
Entries in the International Reception To Godot.
Godot Performance 2013 - Augsburg
In 2013 in Augsburg.