Physiological acting exercises by Jan Fabre: Collaboration between theatre sciences and movement sciences
Nathalie Roussel(1),(2), Jonas Rutgeers(3), Annouk Van Moorsel (4) & Luk Vandendries (5)
In this session, we would like to explore the benefits of combining two very different disciplines, i.e. theater and movement sciences, in relation to the field of acting, dancing and theatre-/dance-education. We will do this trough the presentation of the collaboration between both disciplines in relation to the project ‘performance of the performer’ that deals with the acting method of Jan Fabre.
Jan Fabre has developed a performing method to optimize expressive quality of the performers and reinforce their performative presence on stage. The main characteristic of that method is not imitation but physical transformation. Fabre places great importance on the balance of the body, the use of the joints, the articulation of head, trunk and limbs, and on working with a transfer of weight. He searches for an expression that is located between a person’s biological state and his anthropological natural behaviour.
Our research group combines the expertise of applying sport science principles to the dance field (i.e. movement sciences) and the research on the creative process of Jan Fabre (theater sciences), in order to understand the exercises of Jan Fabre. It researches the performer’s movement with quantitative and qualitative methods and investigates how movement is instigated and controlled. During the research various psychological, philosophical and physical parameters are being monitored during a selection of exercises to measure the effect of acting processes on the body.
1. Department of Physiotherapy and Rehabilitation Sciences, Faculty of Medicine and Health Sciences, UA, Belgium
2. Pain in Motion Research Group, Belgium
3. Researcher Labo21 and research coordinator Troubleyn/Jan Fabre vzw.
4. Royal Conservatoire, AP, Antwerp, Belgium
5. Research Center of Visual Poetics, UA, Belgium