Be Brave and Leave for the Unknown: Elsa Gindler and Embodied Translation in Devising and Performer Training; a practice-research project exploring the 'embodied translation' of Gindler's work for devised theatre and performer training.
- Submitting institution
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University of Exeter
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 52
- Type
- I - Performance
- Venue(s)
- UK venues including Drum Theatre Royal Plymouth, Jacksons Lane, London, South Street Arts Centre, Reading, ARC Stockton
- Open access status
- -
- Month of first performance
- November
- Year of first performance
- 2015
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Research Process
This Practice Research project explores the embodied translation of performer training practices through the devising, realisation and interdisciplinary reflection upon a piece of professional ensemble theatre, Be Brave and Leave for the Unknown.
The process built on Scholar Practitioner Loukes’ 25 years of experience of research into practices developed by German somatic pioneer Elsa Gindler (1885-1961). Loukes co-researched, co-created and co-directed Arts Council England funded Be Brave and Leave for the Unknown with the award-winning RedCape Theatre (Research & Development) in 2014-15, Lyric Theatre Hammersmith, opened in November 2015 and toured the UK in 2015 and 2016, produced by Turtle Key Arts).
Research Insights
The project:
· Confirmed that Gindler’s insights into psychophysical embodiment can be used as an effective foundational practice for performer training, directing and devising (See Contextual Evidence Items 1-5).
· Developed new approaches and techniques for creating devised theatre (including exercises, improvisational structures, the themes and material of the play) (Items 1-5).
· Theorised and developed understanding of the principles of Gindler’s work drawing on a range of interdisciplinary epistemologies (Items 4-5)
· Challenged canonical histories and practices and reconfigured embodied knowledges of performer training in synthesis with historical research on Gindler’s work in 20th century performance (Items 4-5)
· Explored and extended Gindler’s artistic and pedagogical legacy (Items 1-5)
Dissemination
The research was shared through:
· Public presentations of the play to a range of audiences throughout the UK (approximately 3500 audience over 40 performances)
· Performer Training and Devising Resource Pack and invited workshops in a range of schools, universities and conservatoires in the UK
· Critical reflection through book chapter and research presentations (UK, Europe, Hong Kong and Beijing)
- Author contribution statement
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- Non-English
- No
- English abstract
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