Frequently Asked Questions

What is Physical Theatre?

Physical Theatre is not a new concept in theatre, and has as a form been around for quite sometime. However, the First Physical Theatre Company was the first company in South Africa to name the form. Physical Theatre has its roots in the avant garde movements of both theatre and dance. Within a South African context it may be suggested that Physical Theatre has roots in the Political Theatre synonymous with the 1980s. Political Theatre drew on all elements of theatre: dance, mime, voice and theatre devices in order to demand transformation. Physical Theatre however, does not demand transformation but is rather a theatre of transformation. For the First Physical Theatre Company the body is mobilised as a source of power to question conventional views on race, gender, sexual stereotyping and sexuality. This new ‘physicality’ should not be viewed as a negation of the word, the text or the rational, but should be seen as an integration of the physical with the vocal, mental and emotional resources of the performer. There might not always be the same political agenda amongst various exponents of Physical Theatre but there is always clear commitment to transformation – transformation of ideology and to the notions of theatre, drama and dance.

Another aspect of Physical Theatre that is crucial to the ethos of the First Physical Theatre Company is the idea of collaboration. The notion of collaboration is at the core of the First Physical Theatre Company. Collaboration requires that all the elements of theatre work together and are equally recognised. Dance does not exist separate from theatre; design does not exist separate from theatre, all elements contribute to the formation and process of creation. Collaboration is a difficult process in the sense that it is dependant on negotiation, criticism and argument – from such discourse, it is possible to forge fresh and novel approaches to the making of theatre.

 What is Contemporary Dance?

It is not really helpful to attempt a definition of contemporary dance. There is not one technique or style of movement - in fact there are as many possibilities as there are choreographers. It is a bit like Alice in Wonderland asking the caterpillar who he is and the caterpillar responding that he has changed many times since then. In the same way, contemporary dance has developed and changed so that it is difficult to pin down to one particular identity.

It is helpful to focus on the creative and expressive aspect of contemporary dance; this allows for the many individual responses to a contemporary dance aesthetic. It is an attitude to dance, choreography, movement, and the environment that influences the many personal signatures that we see in contemporary dance.

I don't understand! What does it mean?

Here's a thumbnail guide to dance written by Dr Fred Hagemann.

The musician Arnold Schoenberg wrote:

"If it’s art, it’s not for everyone. If it’s for everyone, then it’s not art".

You may have watched a dance performance when you have no idea of what is going on. You are asked what you think and you hastily reply with “Well what do you think?” Schoenberg’s comment is true if we recognise that one needs to know certain things about dance in order to appreciate it. To assist you in joining the “in the know club”, here are some pointers.

• Dance educates us emotionally. We might not be able to say what it ‘means’ but we can talk about the energies and shapes that form and disperse in the flow of the dance. If this was all there were to dance criticism however, anything would go and the work of the critic would be redundant. So what else is there to watch for?

• Having ‘felt’ the work, you need to decide whether it refers to ‘life issues’. If you are not sure, peep at the programme notes to see if the choreographer has offered some clues. Then ask yourself how are they being communicated?

• Look for style. At worst choreographers use a style taught in class, and at best they invent a style to embody their intended ‘meaning’. Choreographer’s styles are referred to as ‘choreographic signatures’.

• Another aspect to watch for is technique. Marcia Siegel, an American dance critic, defined this as a ‘method of training the body to achieve specific movement tasks and a systematic approach to the whole process of moving’. Some choreographers learn other choreographer’s techniques such as the Graham technique whilst others invent their own techniques, adapting them to serve the needs of each work.

Here is a checklist to help you answer the question, “Well, what do you think?”

• How did I respond to the energies and shapes?
• Is there a reference to ‘life issues’?
• Is there a style?
• Could the dancers do what they set out to achieve?
• And did the whole thing come together to create ‘meaning’?

How do I get into the company?

The company is currently running on project-to-project funding and so currently only has three resident performers. The company may hold auditions for various productions on invitation. The best way to find out about auditions is to join our e-mailing list or leave your contact phone number with the Company Manager and ask to be notified when there are auditions. Otherwise, keep your eye on our CALENDAR page for audition dates.

Can I do part-time work with the company?

There are from time-to-time short-term or part-time contracts for performers, administrators, teachers, and production crew. These positions are usually filled by invitation from the Artistic Director or Managing Director.

Does First Physical collaborate with other artists?

Collaboration is core to the aesthetic of the company. We have collaborated with composers, playwrights, stage designers, costume designers, lighting designers, directors and other choreographers. These kinds of collaboration are often the key to the theatricality of our work. Collaborations are usually by invitation of the Artistic Director.

Does First Physical consider producing or co-producing other work?

Yes. From time-to-time, First Physical will consider producing or co-producing other work. More recent examples include: Heike Gehring's "Vrypas" (2006), "Lady Anne" (2007), "Ekspedisies" (2008), and Richard Antrobus's "Stilted" (2009) to name a few. Candidates for having work produced are usually people who have strong connections with the company, or who have worked with the company in the past.

How can I find out when and where you are performing?

Either join our e-maling list or keep an eye on our CALENDAR page.

Can I do classes or workshops with the company?

First Physical runs regular open classes in Grahamstown. We also tour residencies and workshops, and run skills development programmes. Check out our EDUCATION page.

Who funds the First Physical Theatre Company?

Our principal funders at present are National Arts Council of South Africa and Rhodes University supports the company substantially with infrastructure, financial and other services. For a full list of funders and details on sponsorship opportunities, visit our FUNDERS page.

Where can I get merchandise and education materials?

We produce and stock a range of resources including manuals, DVD's, Videos, Music CD's, a CD-Rom, and company T-Shirts. You can purchase these from the company office, or visit our RESOURCES page and download an order form.