mumbai’s theatre actors get physical on stage - times of india
by：Marslite
2019-09-18
Actions speak louder than words
From this popular proverb, it can be seen that there is a new form of storytelling in Mumbai\'s Drama Circle-the physical theater.
Deviation from text-
Drive and talk
Facing the performance, it stands out because of its flexible and clear movements on the stage.
This apparent physical form is another addition to the many experimental drama forms we see in urban drama --
Eye mask, immersive gourmet theater, black box and spirituality and more.
\"This allows me to explore the space between old and new forms . \" One of the reasons for the director drifting to the physical theater is because of its unique movement, which can be traced back to the traditional Indian martial arts form and contemporary dance movements.
Director Feza Jalali said, \"all plays are physical.
If you stand on the stage in front of the audience, you will be involved in the physical performance of something on the page.
But at Shikhandi, we use traditional Indian art forms like kooodiyattam from Kerala.
We practiced with the professionals for 10 days to learn the basics.
We also went to Udupi to learn jacasana.
As a story in-
This form allows me to explore a space that blends traditional and contemporary.
The theater director Sujay Saple\'s play is like this, when there is all this (TIATIWTIAT)
The Provoc, the moon fool, and the unlord have not only physical events, but are completely moving --based.
\"I\'m not against realism, but I think it\'s a more challenging form.
The stage is a place full of imagination.
It can be more metaphorical, not just literal.
I\'m tired of the furniture on the stage, people are talking, at the beginning --middle-and-an-
End the narrative, in short, with the identity of the relevant characters.
My actor is a vocabulary of metaphors and symbols.
\"There are some parts of the text, but mainly, the body of exercise is the signifier,\" he explained . \". Actor-
Director Deepika Arwind, who plays multiple roles in the kingdom, said she chose this format because she wanted each character to live in a completely different body, breathing, voice and vocabulary of gestures.
\"I \'ve done a lot of work with my instincts to make it possible that there\'s something right in the body of a particular character,\" she said . \".
Actor Arpit Singh said that if your body is trained, you always have an advantage on the stage, equating poetry with physical performance, both of which can be explained by the audience, he, who starred in \"Moon fool\" and \"agent Provocateur\", said: \"It\'s two different things to say that I love you and express it through your actions.
As a member of the physical theater, both professional and personal changed me.
In this format, there is alignment between the text and the body.
You are free to move on stage and learn more about lights, sets, props, music, audiences and costumes.
Actor Errol Rodrígues has been part of the physical drama workshop, adding, \"even if we don\'t do outdoor activitiesand-
Physical performance-
Based on the game, such a workshop was done, of course, adding a dimension to the existing content.
\"Yuki Ellias, who performs and guides elephants in the room, said that any movement in the language and form of performance is a natural component of her drama --making process.
\"Standing on the stage alone is a physical act.
You must realize, be skilled, and always embody the presence of the body.
There is no theater without bodies. \"She said.
Drama does not mean that actors have to make sure they are agile because the physical drama requires flexibility.
Shared with actress and contemporary dancer Maithily Bhupatkar, \"it is important to have physical discipline and training for any physical-related work, as you will generate material from it.
\"Arpit has learned a lot of rural forms of exercise, such as chhau ti, chhau (a semi-
Classic Indian dance from martial arts, tribes and folk in Orissa)
And kalaripayattu for better performance.
Deepika shared that although she was not trained in martial arts, she was working together to learn kalaripayattu this year.
Sujay suggested, however, that this is not the only thing to focus on.
He said: \"I think all the bodies can be expressed.
If you have imagination, then your body will translate.
When many actors hear the body show, they say, \'Oh!
I haven\'t been to the gym for months and I have to tell them that I\'m not going to let them go over.
Drama does not mean acrobatics.
It expresses things in physical terms.
\"Forms and stories sometimes have to be supported by each other, and a lot of things happen on the stage, which may stop the point that the play wants to express.
How does a person consciously avoid it?
Faezah said, \"You have to ask yourself at every point: \'Is this too much? Is this enough?
Then, take out the inappropriate things honestly.
Yuki added, \"You have to choose the format that best suits the story.
If a clown or pantomime works best for my narrative, then I will bring a mask and stylized body work along the way.
If the form is dance
Theater, I will arrange a complex sequence to express the emotions of the characters.
Forms and stories must support each other.
From this popular proverb, it can be seen that there is a new form of storytelling in Mumbai\'s Drama Circle-the physical theater.
Deviation from text-
Drive and talk
Facing the performance, it stands out because of its flexible and clear movements on the stage.
This apparent physical form is another addition to the many experimental drama forms we see in urban drama --
Eye mask, immersive gourmet theater, black box and spirituality and more.
\"This allows me to explore the space between old and new forms . \" One of the reasons for the director drifting to the physical theater is because of its unique movement, which can be traced back to the traditional Indian martial arts form and contemporary dance movements.
Director Feza Jalali said, \"all plays are physical.
If you stand on the stage in front of the audience, you will be involved in the physical performance of something on the page.
But at Shikhandi, we use traditional Indian art forms like kooodiyattam from Kerala.
We practiced with the professionals for 10 days to learn the basics.
We also went to Udupi to learn jacasana.
As a story in-
This form allows me to explore a space that blends traditional and contemporary.
The theater director Sujay Saple\'s play is like this, when there is all this (TIATIWTIAT)
The Provoc, the moon fool, and the unlord have not only physical events, but are completely moving --based.
\"I\'m not against realism, but I think it\'s a more challenging form.
The stage is a place full of imagination.
It can be more metaphorical, not just literal.
I\'m tired of the furniture on the stage, people are talking, at the beginning --middle-and-an-
End the narrative, in short, with the identity of the relevant characters.
My actor is a vocabulary of metaphors and symbols.
\"There are some parts of the text, but mainly, the body of exercise is the signifier,\" he explained . \". Actor-
Director Deepika Arwind, who plays multiple roles in the kingdom, said she chose this format because she wanted each character to live in a completely different body, breathing, voice and vocabulary of gestures.
\"I \'ve done a lot of work with my instincts to make it possible that there\'s something right in the body of a particular character,\" she said . \".
Actor Arpit Singh said that if your body is trained, you always have an advantage on the stage, equating poetry with physical performance, both of which can be explained by the audience, he, who starred in \"Moon fool\" and \"agent Provocateur\", said: \"It\'s two different things to say that I love you and express it through your actions.
As a member of the physical theater, both professional and personal changed me.
In this format, there is alignment between the text and the body.
You are free to move on stage and learn more about lights, sets, props, music, audiences and costumes.
Actor Errol Rodrígues has been part of the physical drama workshop, adding, \"even if we don\'t do outdoor activitiesand-
Physical performance-
Based on the game, such a workshop was done, of course, adding a dimension to the existing content.
\"Yuki Ellias, who performs and guides elephants in the room, said that any movement in the language and form of performance is a natural component of her drama --making process.
\"Standing on the stage alone is a physical act.
You must realize, be skilled, and always embody the presence of the body.
There is no theater without bodies. \"She said.
Drama does not mean that actors have to make sure they are agile because the physical drama requires flexibility.
Shared with actress and contemporary dancer Maithily Bhupatkar, \"it is important to have physical discipline and training for any physical-related work, as you will generate material from it.
\"Arpit has learned a lot of rural forms of exercise, such as chhau ti, chhau (a semi-
Classic Indian dance from martial arts, tribes and folk in Orissa)
And kalaripayattu for better performance.
Deepika shared that although she was not trained in martial arts, she was working together to learn kalaripayattu this year.
Sujay suggested, however, that this is not the only thing to focus on.
He said: \"I think all the bodies can be expressed.
If you have imagination, then your body will translate.
When many actors hear the body show, they say, \'Oh!
I haven\'t been to the gym for months and I have to tell them that I\'m not going to let them go over.
Drama does not mean acrobatics.
It expresses things in physical terms.
\"Forms and stories sometimes have to be supported by each other, and a lot of things happen on the stage, which may stop the point that the play wants to express.
How does a person consciously avoid it?
Faezah said, \"You have to ask yourself at every point: \'Is this too much? Is this enough?
Then, take out the inappropriate things honestly.
Yuki added, \"You have to choose the format that best suits the story.
If a clown or pantomime works best for my narrative, then I will bring a mask and stylized body work along the way.
If the form is dance
Theater, I will arrange a complex sequence to express the emotions of the characters.
Forms and stories must support each other.
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