Physical Theatre: Voice, Chorus Work & Trestle

Physical Theatre: Voice & Chorus Work

The Chorus



Today we looked at how we can use our voices in a way that is Berkovian and interesting to hear and incorporate into physical theatre work.



First we looked at ancient Greek theatre, specifically the role and purpose of the ‘chorus’.  In Greek theatre, there would only be one main actor (later three) and the rest of the cast would form a chorus. The chorus were a group of people who represented a crowd of citizens.



They were used as a group narrator to give added depth, insight and reflection to the events happening in the play or the hero’s struggle. They were also used to show the passage of time within the play, and to react to every event in the story – the same way an audience might.

The text we were given was ‘my back is bent with woes’ – we tried delivering it as a group in several different ways. First we just all read through the whole text together as one which I thought sounded a bit flat and got quite boring by the end. Next we went around doing one line each after each other, which sounded much better – hearing everyone’s individuals gave a better sense of being individuals within a group also made me listen to the words more.



After this, we tried it again but to the punctuation rather than the end of the line, which amplified this even more – it really sounded effective and had a dynamic rhythm that was interesting to listen to as well as giving that sense of being one of a group. We also tried it in two separate groups almost like competing or conversing with each other which I thought sounded really good and more interesting and realistic. Doing this really made me realise how powerful an ensemble can be.









Agamemnon Monologue



Also today we looked at adapting a piece of text based on a Greek tragedy which was actually adapted by Steven Berkoff. The text is about Agamemnon, whose brother kills and serves his sons to him at a feast as an act of revenge.



To open the piece we decided to all stand in a circle around a chair which would represent the man at the feast. Because the first line is ‘something begins to smell in this vile house’ we all sniffed the air to start and delivered the line together. I had the idea to turn our heads one after the other to the left as we sniffed and I think it looked quite effective.



Because the text was so long we all agreed to spit into three groups of three to deliver a section each. My group had the last section and decided to emphasize certain lines or words by all saying them together and with actions, for instance, panting before saying ‘it’s hot.’



I think everyone really nailed using their voice in a Berkovian way as part of a chorus, but I think we could have pushed it a bit further physically.





Trestle Theatre



Today I also began to research the theatre company Trestle Theatre, which is famous for using their unique masks and physicality to convey character.



Trestle was formed in 1981 by Sally Cook, Alan Riley and Toby Wilsher, who were students at Middlesex University, who were supported by their teacher John Wright. It

Since then, the company has moved into its own building – Trestle Arts Base in Hertfordshire, had many international collaborations and has grown to become of the most successful touring theatre companies in the UK.



In 2004 company was taken over by a new artistic director called Emily Gray, who began to expand the way Trestle told stories – she still used masks, but also gave the company the ability to explore their plays through other platforms too, so they don't have to use them in every performance.


Trestle has three kinds of mask -

1. Basic Mask - These are the standard Trestle masks, and the cheapest. They generally display one set, basic emotion. For example, happy or sad. (See below.)
2. Intermediate Mask - These are the next level of Trestle mask. These display slightly more complex emotions, or expressions with a mixture of feelings. (See below)

3.  Advanced Mask - These are the highest level of Trestle mask. They show a broader range of complex and mixed emotions. (See below)

I think the way Trestle uses masks is really interesting. I would like to try mask work in the future - especially incorporated in physical theatre. I think that not being able to use your face to tell the story - having that part done for you, essentially - would really make it easier to focus on using your body and physicality to act and convey emotion and story.