Copy of Stephen Berkoff and Total Theatre

Berkoff did not invent

total theatre!

However, after studying drama and

mime in London

and Paris, he drew on his own experiences as a

performer to create theatre that demonstrated a

full and complete immersion of the actor in the

rehearsal and performance process…

Stephen Berkoff and Total Theatre

What is its purpose?

The aim of Total Theatre is to create extreme moods to give the audience an overwhelming experience and to shock, amuse, scare, or amaze them.

What is Total Theatre?

Influence on Total Theatre

Key productions within the style

In reference to theatre, Berkoff wanted to "evoke and resignify" Shakespearean texts; the language Shakespeare uses is so descriptive and image-focused that it's a natural fit for Berkoff's vision of theatre.

The Trial- directed by Berkoff

East

Metamorphosis

The belief that all elements of theatre are EQUAL

All aspects have equal value in contributing the overall effect to the audience.

Theatre should be about conveying emotion not thinking.

Intended to give the audience an overwhelming experience.

No theatrical element should assume primacy over another

e.g. movement, music, visual image, text etc.

Berkoff viewed each element equally as important, and believed that each element should be explored for their possibilities…

Every aspect of theatre must have a purpose….

Every movement

Every line

Each Lx effect

Each SFX effect

Each prop

It is often said that Berkoff was simply in the right place at the right time. He explored his ideas surrounding total theatre in the 1960’s, a time when there were many attempted to delve further into different styles of theatre – especially those that break away from the norm seen during the period. After gaining his experience, Berkoff formed his own theatre company – the London Theatre Group (1968), when he was just 31 years old. Establishing this theatre group was seen to heavily influence the evolution total theatre had, as well as influence Berkoff heavily as a person.

Berkoffian/Berkovian actors use

techniques such as background

movement, repetitive actions, and mime

to further explore the ways in which Berkoff

approaches exchanges between two characters.

Berkoff said that it was important

“to see how I could bring mime

together with the spoken word

as its opposite partner, creating

the form and structure of the piece”.

The entire point of Berkoffian theatre is to

"minimalise and physicalise" theatre, stripping

each story down to its basic and

abstract components.

Berkoff’s productions are a mixture of adaptations of short stories and novels – for example The Trial, Metamorphosis and In The Penal Colony by Kafka.

He also uses interpretations of classic works, for example Hamlet, Coriolanus, Salome and Greek – as well as other original theatrical pieces, for example Decadence, West, Sink the Belgrano and East.

The productions use the power of language as well as the physical interpretation of the text, bringing it to vivid life for audiences.

Stephen Berkoff

Key features of Total Theatre

Exaggeration

Physicality

Physical Theatre

Berkoff was influenced by Jaques Lecoq (teacher

of mask, mime, clowning, chorus work)

Use of the entire body

Levels of tension

Exaggerated and precise movements

Large gestures

Extreme exaggeration

Precise and clear movements

Ensemble

Facial expression, mime, body language

Exaggerating all areas not just physicality

- including the vocal delivery through choral techniques like unison, contrapuntal speech (counterpoint)

and manipulation of

(elongation of sound)

“Theatre should say what is

inexpressible and

unspeakable, confess your

deepest secrets, passions

and abominable (repulsive,

awful, horrendous)

imaginations, open your skull

and put on stage that

writhing can of worms”

Approaches

Minimalistic approach, actions

rather than props/set.

Externalising emotions (expressionism)

Non-naturalism

Mime

Talking to the audience

(Direct Address)

- Since the late 1960s, Steven Berkoff made it a mission to spread his dramatic vision, and, in the process gained a devoted audience. (0ften amongst the young)

- Berkoff aimed to convert what he saw as the 'bourgeois' - middle class - theatre of realism into a dynamic, presentational "total-theatre." - His concept of total-theatre fulfils his desire for a spiritual and psychological theatre which attempts to "illuminate" the text rather than "depict" it.

Practitioner influences

Jacques Lecoq 1921-1999

Antonin Artaud (1896-1948)

French theatre practitioner specialising in physical theatre, mime, mask and ensemble acting and improvisation.

Berkoff studied at Lecoq's school in paris - L'École Internationale de Théâtre Jacques Lecoq in 1965

Theatre that is dangerous with the use of powerful language and mime.

'Theatre of Cruelty'

Berkoff incorporates Artaud style in his production. E.g which can be seen in Berkoff's 'physical theatre' most notably mime.

Bertolt Brecht 1898-1956

Berkoff often produces theatre with an intention/message. E.g The Trial's intention was the present hypocracy, in terms of injustice in the justice system.

He 'borrows' from the European tradition of non-naturalistic performance - something seen as radical in 1960s/70s British Theatre which was heavily into realism and the spoken word.

'Verfremdungseffekt' (alienation effect) which Berkoff uses avidly E.g. in 'East' the actors abandon naturalism by, for example, addressing the audience.