THEATRE ART - STUDY MATERIAL Unit II, Topic 10: Third Theatre

    THEATRE ART -  STUDY MATERIAL

Unit II, Topic 10: Third Theatre

     10 Short Answer Questions (2 marks each)

1. Q: Who coined the term "Third Theatre"?

   A: The term "Third Theatre" was coined by Eugenio Barba, an Italian theatre practitioner.

2. Q: What does "Third Theatre" refer to in relation to other theatre forms?

   A: Third Theatre refers to theatre practices that exist outside both institutionalized, traditional theatre and the avant-garde.

3. Q: Name one key principle of Third Theatre.

   A: One key principle of Third Theatre is the emphasis on the actor's physical and vocal training.

4. Q: What is the International School of Theatre Anthropology (ISTA)?

   A: ISTA is a multicultural network of performers and scholars founded by Eugenio Barba to study the underlying principles of performance.

5. Q: What is meant by "theatre anthropology" in the context of Third Theatre?

   A: Theatre anthropology refers to the study of the performer's pre-expressive scenic behavior, which forms the basis of different performance techniques.

6. Q: What is "barter" in the context of Third Theatre?

   A: In Third Theatre, "barter" refers to the exchange of performances, songs, or dances between different cultural groups as a form of cultural exchange.

7. Q: Name a theatre group associated with Third Theatre practices.

   A: Odin Teatret, founded by Eugenio Barba, is a theatre group closely associated with Third Theatre practices.

8. Q: What is the significance of "presence" in Third Theatre?

   A: In Third Theatre, "presence" refers to the performer's ability to command attention and energy, considered more important than representation or interpretation.

9. Q: How does Third Theatre typically approach the use of text in performance?

   A: Third Theatre often de-emphasizes written text, focusing instead on the performer's physical actions and vocal expressions.

10. Q: What is the "floating island" concept in Third Theatre?

    A: The "floating island" concept in Third Theatre refers to the creation of a self-sustained, nomadic community of theatre practitioners dedicated to their craft.

     5 Medium Answer Questions (5 marks each)

1. Q: Explain the main principles and characteristics of Third Theatre as developed by Eugenio Barba.

   A: The main principles and characteristics of Third Theatre include:

   1. Actor-Centered Approach: Emphasis on the actor's training and presence rather than text or directorial concept.

   2. Intercultural Exchange: Integration of performance techniques from various cultures.

   3. Physical Training: Rigorous physical and vocal training to develop the actor's expressive capabilities.

   4. Group Dynamics: Focus on ensemble work and long-term collaborations.

   5. Cultural Barter: Exchange of performances and practices between different cultural groups.

   6. Rejection of Conventions: Operating outside traditional theatre institutions and avant-garde circles.

   7. Anthropological Approach: Studying the underlying principles of performance across cultures.

   8. Self-Definition: Groups often create their own training methods, aesthetics, and production processes.

   These principles aim to create a theatre that is deeply rooted in the performer's craft while being open to diverse cultural influences.

2. Q: Discuss the concept of "theatre anthropology" and its significance in Third Theatre practices.

   A: Theatre anthropology, as developed by Eugenio Barba, is central to Third Theatre practices:

   1. Definition: The study of the performer's pre-expressive scenic behavior, which forms the basis of different performance techniques.

   2. Cross-Cultural Study: Examines performance principles across various cultures and traditions.

   3. Focus on the Body: Emphasizes the performer's use of body, voice, and presence.

   4. Pre-Expressivity: Explores the underlying principles that generate the performer's presence and scenic life.

   5. Transcultural Approach: Seeks to identify recurring principles in different performance traditions.

   6. Training Methods: Informs the development of actor training techniques in Third Theatre.

   7. Performance Analysis: Provides tools for analyzing and understanding diverse performance forms.

   Theatre anthropology provides a theoretical and practical framework for Third Theatre, informing both training methods and performance creation.

3. Q: Analyze the role of intercultural exchange in Third Theatre and its impact on performance practices.

   A: Intercultural exchange plays a crucial role in Third Theatre:

   1. Cultural Barter: Facilitates the exchange of performances and techniques between different cultures.

   2. Technique Synthesis: Encourages the integration of diverse performance traditions into new forms.

   3. Expanded Vocabulary: Enriches the expressive range of performers through exposure to varied techniques.

   4. Challenging Assumptions: Questions culturally-specific notions of performance and theatre.

   5. Building Connections: Creates networks of practitioners across cultural and national boundaries.

   6. Ethical Considerations: Raises questions about cultural appropriation and respectful exchange.

   7. Innovation: Stimulates new approaches to performance through cross-cultural pollination.

   This emphasis on intercultural exchange has led to the development of unique performance styles that draw from multiple traditions, challenging the boundaries of traditional theatre forms.

4. Q: Explain the concept of the "floating island" in Third Theatre and its implications for theatre practice.

   A: The "floating island" concept in Third Theatre refers to:

   1. Autonomous Community: Creation of a self-sustained group of theatre practitioners.

   2. Nomadic Existence: Willingness to travel and work in various cultural contexts.

   3. Dedication to Craft: Intense focus on developing performance skills and techniques.

   4. Alternative Lifestyle: Often involves a commitment to a way of life centered around theatre practice.

   5. Cultural Exchange: Facilitates encounters and exchanges with diverse communities.

   6. Economic Independence: Seeks to operate outside traditional theatre funding structures.

   7. Continuous Training: Emphasizes ongoing training and development of the performers.

   Implications for theatre practice include:

   - Fostering a deep commitment to the art form

   - Encouraging experimentation and innovation

   - Challenging traditional theatre production models

   - Creating unique performance forms through cultural encounters

5. Q: Discuss the influence of Third Theatre principles on contemporary actor training and performance creation.

   A: Third Theatre principles have significantly influenced contemporary actor training and performance creation:

   1. Physical Theatre: Increased emphasis on physical training and expression in actor education.

   2. Devised Theatre: Influence on collaborative, ensemble-based creation processes.

   3. Intercultural Performance: Greater openness to incorporating diverse cultural techniques.

   4. Actor's Presence: Focus on developing the performer's ability to command attention and energy.

   5. Long-Term Training: Inspiration for intensive, ongoing training programs.

   6. Interdisciplinary Approach: Integration of dance, martial arts, and other forms into actor training.

   7. Site-Specific Work: Influence on creating performances outside traditional theatre spaces.

   These influences can be seen in the work of practitioners like Phillip Zarrilli, as well as in the training programs of institutions like the Intercultural Theatre Institute in Singapore.

     Essay Question

Q: Analyze the development and significance of Third Theatre in the context of 20th and 21st-century performance practices. Discuss how Third Theatre challenges traditional theatrical conventions, its approach to actor training and performance creation, and its relevance in addressing contemporary global issues. Consider both its contributions and potential limitations in the evolving landscape of world theatre.

Introduction:

Third Theatre, a concept developed by Eugenio Barba in the 1970s, represents a significant shift in theatrical practice and theory. Positioned between traditional, institutionalized theatre and the avant-garde, Third Theatre has played a crucial role in reshaping approaches to actor training, performance creation, and cultural exchange. This essay will examine the development and significance of Third Theatre, its challenges to theatrical conventions, its distinctive methodologies, and its relevance in addressing contemporary global issues.

Development and Historical Context:

The emergence of Third Theatre can be understood as a response to the limitations of both mainstream and experimental theatre in the mid-20th century. Eugenio Barba, influenced by his work with Jerzy Grotowski and his encounters with Asian theatre forms, sought to create a theatre that was neither bound by traditional Western conventions nor limited to the often elitist circles of the avant-garde.

Key developments include:

1. Founding of Odin Teatret (1964): Barba's theatre laboratory, which became a center for Third Theatre practices.

2. International School of Theatre Anthropology (ISTA) (1979): Establishment of a research network studying the underlying principles of performance across cultures.

3. Promotion of "Theatre Anthropology": Development of a transcultural approach to understanding performance.

Challenging Theatrical Conventions:

Third Theatre challenges traditional theatrical conventions in several ways:

1. Text and Narrative: De-emphasizing written text in favor of physical action and non-verbal communication.

2. Actor-Centered Approach: Shifting focus from the director or playwright to the actor as the primary creator.

3. Training Methods: Developing rigorous, often physically demanding training regimens that draw from diverse cultural traditions.

4. Performance Spaces: Moving beyond traditional theatre venues to perform in unconventional spaces.

5. Audience Relationship: Rethinking the relationship between performers and spectators, often involving more direct interaction.

6. Cultural Hierarchies: Challenging Western-centric notions of theatre by incorporating and valuing diverse performance traditions.

Actor Training and Performance Creation:

Third Theatre's approach to actor training and performance creation is distinctive:

1. Psychophysical Training: Emphasis on integrating physical and mental aspects of performance.

2. Transcultural Techniques: Incorporation of techniques from various cultural traditions (e.g., Kathakali, Noh, Balinese dance).

3. Ensemble Work: Focus on long-term collaboration and group dynamics.

4. Improvisation and Devising: Creation of original work through collective processes rather than pre-written scripts.

5. Presence and Energy: Development of the actor's ability to command attention and manipulate energy in performance.

6. Barter: Exchange of performances and techniques between different groups as a form of cultural dialogue.

Relevance in Addressing Contemporary Global Issues:

Third Theatre's principles and practices have shown relevance in addressing several contemporary global issues:

1. Cultural Dialogue: Promoting intercultural understanding through performance exchanges and collaborations.

2. Identity and Globalization: Exploring questions of cultural identity in an increasingly globalized world.

3. Alternative Community Models: Demonstrating possibilities for sustainable, art-centered communities.

4. Social Engagement: Using theatre as a tool for community development and social change.

5. Preservation of Traditions: Contributing to the preservation and evolution of diverse performance traditions.

6. Environmental Awareness: Often incorporating ecological concerns into both practice and content.

Contributions to World Theatre:

Third Theatre has made significant contributions to world theatre:

1. Expansion of Actor Training: Influencing actor training methods globally, emphasizing psychophysical approaches.

2. Intercultural Performance: Pioneering approaches to intercultural theatre that go beyond superficial fusion.

3. Performance Theory: Contributing to the development of new theoretical frameworks for understanding performance.

4. International Networks: Fostering global networks of theatre practitioners and scholars.

5. Documentation and Research: Extensive documentation of diverse performance traditions and techniques.

Limitations and Criticisms:

Despite its contributions, Third Theatre has faced certain limitations and criticisms:

1. Accessibility: The intense, often full-time commitment required can make it inaccessible to many practitioners.

2. Cultural Appropriation: Concerns about the ethics of borrowing from diverse cultural traditions.

3. Audience Reach: Often operating outside mainstream theatre circuits, it may have limited audience reach.

4. Economic Sustainability: Challenges in maintaining long-term economic viability for theatre groups.

5. Theoretical Complexity: The depth of its theoretical underpinnings can be challenging for some to engage with.

Evolution and Future Directions:

As theatre continues to evolve in the 21st century, Third Theatre principles are being adapted and reinterpreted:

1. Digital Integration: Exploration of how Third Theatre principles can be applied in digital and virtual performance contexts.

2. Eco-Theatre: Increased focus on environmental sustainability in theatre practice.

3. Social Justice: Application of Third Theatre techniques in social justice and community development contexts.

4. Neuroscience and Performance: Integration of neuroscientific research into understanding of performer presence and audience engagement.

5. Hybrid Forms: Development of new performance forms that blend Third Theatre principles with other contemporary practices.

Conclusion:

Third Theatre represents a significant contribution to 20th and 21st-century performance practices. By challenging traditional conventions, developing unique approaches to actor training and performance creation, and engaging with global issues, it has expanded the possibilities of what theatre can be and do. While facing certain limitations, its principles continue to influence and inspire theatre practitioners worldwide.

The legacy of Third Theatre lies not just in its specific techniques or performances, but in its ethos of continuous exploration, intercultural dialogue, and commitment to the craft of the performer. As the world faces increasingly complex challenges, the principles of Third Theatre offer valuable tools for creating meaningful, engaged, and transformative theatrical experiences.

Looking forward, the adaptability and openness to cultural exchange inherent in Third Theatre suggest that its influence will continue to evolve, contributing to new forms of theatre that respond to the changing realities of our global society. Whether through direct application of its principles or through the inspiration it provides for new experiments in performance, Third Theatre remains a vital force in the ongoing development of world theatre.