I am delighted to introduce this guest post by María Ferrara, a performer, yoga teacher and gestalt therapist who uses her three lines of work to enable her to explore human nature and being in the moment. In this post, she discusses the importance of awareness, how improvisation has helped her to find freedom in performance once again and she recommends a book on improvisation.
ACTION THEATER – THE IMPROVISATION OF PRESENCE
This is the title of Ruth Zaporah’s first book. An absolute gem. It offers her approach to improvisation in bite-size pieces: a sequence of exercises to do individually, in pairs or in ensemble.
My first surprise was to find a theatre approach to improvisation of this kind. Improvisation in the context of theatre tends to happen in devising processes, or in small sections of a fixed show or within frames such as Theatre Sports. The open-ended, more lyrical, more abstract improvisation seemed to belong to the field of dance.
The most visible current in this sense came from dancers in New York in the 50’s and 60’s, who started to question the rigid format of dance in many ways. One of them was improvisation. Many of them, like Trisha Brown, also experimented with their voices and even text, which blurred the boundary between dance and theatre.
What is what? Is it really that important when what we’re interested in is opening up our expressive possibilities to create a performative event in a given space and time?
Action Theater has offered me the tools to bring together body and voice, movement and speech
I encountered improvisation as something that could be performed per se through dance. And there seemed to me to be a gap between what I was doing when I improvised in dance contexts and what I was doing as an “actress”. Action Theater has offered me the tools to bring together body and voice, movement and speech. The wealth of possibilities has increased my awareness about the power and connotations of each of them.
Regular practice makes me discover new depths all the time. At one time, improvising meant following my impulse. As my palette becomes more diverse, I find choice moment by moment. I am no longer riding a wave of energy that takes me wherever it fancies, but composing. Gradually, I’m noticing how my awareness of what there is (inside and outside of me) in a given moment is increasing. The material that the input inspires is becoming more subtle and varied. I am gaining freedom so that I respond rather than react, so that I subordinate my choice not to my personal fancy, but to the aim of “creating states in which others have the possibility of creating other states” (Carlos Osatinsky and Fernando Nicolás Pellicccioli).
I have used and am using “Action Theater: The Improvisation of Theatre” extensively. It is absolutely practical and also includes plenty of material for thought. I welcomed this too, as I find improvising is putting me in touch with plenty of conceptual and philosophical issues. A welcome manual to explore one’s personal creative material in the here and now.
The 2ND INTERNATIONAL ACTION THEATER AND PHYSICAL IMPROVISATION FESTIVAL will take place in BERLIN between 6TH AND 12TH MAY 2013. María Ferrara is organising accommodation with Berlin hosts or for the cheapest possible price to encourage international participation. If you are interested in improvisation and instant composition, this is an extraordinary opportunity: a whole week of workshops, performances, jams and exchange in Berlin, an inspiring city for anybody involved with the arts. For more information visit www.actiontheaterberlin.com or get in touch with Maria: kontakt[at]mariaferrara.net
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