Physical Theatre

Physical Theatre is used to describe any mode of performance that pursues storytelling or drama through primarily physical and secondarily mental means. Several traditions of performance all describe themselves as "physical theatre." It can be used to help the actors gain a better understanding of the plays, but there has been some considerable confusion as to how physical theatre should be defined. The means of expression seem to be primarily physical rather than textual, often augmented by musical elements.

Many of these various Physical Theatre, Forced Entertainment and the Double Edge Theatre all use differing but nonetheless devising-based processes.

Some analysts believe that physical theatre was influenced primarily through Western culture by theatrical experimentalists Bertolt Brecht and Jerzy Grotowski. An Eastern strain of physical theater is taught from the writings and disciplines of Tadashi Suzuki. Dympha Callery suggests that physical theatre shares some common characteristics, even though the definition of physical theatre is still problematic, they all are not necessarily true all the time. Further research into the training or "work" of these artists cites an amalgamation of numerous techniques re-purposed and/or re-introduced as a means to further inform the present theatrical research/production.

These include:

• Work is often devised, rather than originated from a pre-existing script. (An exception to this is the troupe Shared Experience, which focuses on making contemporary reinterpretations of highly literary plays including A Doll's House by Ibsen and War and Peace by Tolstoy).
• Work has inter-disciplinary origins - it crosses between music, dance, visual art as well as theatre.
• Work challenges the traditional, proscenium arch, performer/audience relationship.
• Work celebrates the non-passive audience.
• Work utilises the imagination of the audience in conjunction with the imagination of the performers.