Physical Theatres: A Critical Introduction, and: Physical Theatres: A Critical Reader (review)

Simon Murray (director of theatre at Dartington College of Arts) and John Keefe (senior lecturer at the London Metropolitan University Undergraduate Centre) offer the theatre world two movement-analysis texts. These well-written books, which focus on techniques from the Western world of physical theatre, would serve graduate level or highly focused classes in movement pedagogy or practice. With their identical six-chapter breakdowns ("Genesis, Contexts, Namings"; "Roots: Routes"; "Contemporary Practices"; "Preparation and Training"; "Physicality and the Word"; "Bodies and Cultures"), the books may be used in relation to each other or stand alone as individual texts.

The first volume, Physical Theatres: A Critical Introduction, expresses the theories of authors Murray and Keefe. With the idea of "pluralities," the authors reveal the physical theatre and the physical in theatre. The goal (achieved in both texts) is to express the combined practice– theory–history of the physical world of the theatre. The authors acknowledge that their aim is "to focus on the matter and forms of physical theatres, to understand their claims and intentions, and to make explicit the kinds of relationships these practices have with other theatres territories, both culturally and historically" (22), and "to offer commentary, insights and analysis on the 'bigger picture'—the social, cultural, ideological and philosophical contexts—which physical theatres inhabit" (22).

"Genesis, Contexts, Namings" defines what makes physical theatre. Here, mime, gestures, and feeling are contextualized in the world of physical theatre. The physical requirements of such performance groups as DV8 Physical Theatre and the Wooster Group are used as examples and viewed through the critical lenses of cultural materialism and feminist theory. "Roots: Routes" is where the authors take the reader to the Greek theatre, exploring origins and relating The Poetics to contemporary theatre movements. The origins are also related to sections in the chapter such as the Miming, Expressive, Masked, Illusionary, Dancing, and Avant-garde. A particularly interesting section looks at visceral theatre where pieces by the Living Theatre such as The Brig and Prometheus provide strong roots for current physical theatre, while also connecting back to the ideas of Artaud and Alfed Jarry. "Contemporary Practices" is where the world of theatre and dance collide, as the physical dialogue in the world of dance is considered as well as physical theatre. Groups such as the Wuppertal Dance Theatre, DV8, and Divas Dance Theatre meet the ideas of Théâtre du Soleil, Goat Island Performance Group, and Dario Fo.

The theatre-movement instructor will find strong pedagogical ties in the chapter "Preparation and Training." Lev Dodin, Eugenio Barba, Anne Bogart, Jacques Lecoq, Monika Pagneux, Phillipe Gaulier, Joan Littlewood, and Etinenne Decroux provide the basis for the various movement schools of thought considered here. The chapter ties together diverse methods of training and is beneficial for both professional directors and actors as well as movement professors and their students. Those wishing to address text analysis in the movement world will find effective tools in "Physicality and the Word." Text is viewed as the catalyst for movement and is related to needs in scripts such as the silent characters found in Brecht's Mother Courage and Her Children and the stillness found in moments such as Chekhov's Three Sisters. Relationships between moments in the scripts and the audience are addressed by considering ways that the physical can break the fourth wall. "Bodies and Cultures" explores and reveals differences and similarities among movements from various cultures where East meets West. The ideas are strengthened by case studies that look at the Aboriginal cultures from Native Australia and Native American Indian mythology. Perhaps the most familiar topic for discussion found in this chapter is Peter Brook's The Mahabharata.

The lexicon and glossary are wonderful additions to the text, providing definitions for concepts related to physical theatre discussed by the authors and others. The one drawback to Physical Theatres...