The Influences Upon Steven Berkoff

The Influences Upon Steven BerkoffUpon studying Steven Berkoff as a practitioner I have eer profoundly noted that his theories be very hard to define due to their ever changing and versatile nature. The lack of official documentation on Berkoffs theories makes it especi all(prenominal)y hard to to the full comprehend what exactly the Berkovian public proveation style involves and dictates. Fortunately he has compose a few journals which chronicle the rehearsal and creative process he has gone by dint of for his various productions. Among these publications is mediations on Metamorphosis (1995), a journal of Berkoffs time spent in Japan directing the tenth major(ip) production of Metamorphosis, and Coriolanus in Deutschland (1992) which chronicles the rehearsal process for his 1988 production of Coriolanus in Munich, Ger many an(prenominal). moreover, these journals be primarily autobiographical and lack much theoretical context. In 1969, Steven Berkoff presented the creat ion of his adaptation of Frank Kafkas Metamorphosis at the Round Ho intention orbit in capital of the United Kingdom. This production was signifi deposet because Berkoff serving for the first time as writer/adapter, director, and faker in a full-length project presented an aesthetic which would become identified as his artistic trademark. Metamorphosiscombined elements of Brechtian Epic Theatre by using histrions to purposefully represent characters kinda than become them Antonin Artauds Theatre of harshness by breaking from traditional theatre of operations texts and asking the actors to b atomic number 18 their internal thoughts as if they were human-sacrifices to get ritualistic theatre Jean-Louis Barraults total-theatre by using all possible means to unc all over the meaning conscious or differently of the operate and Jacques Le Coqs theories of mime, movement, masks, and ensemble, by using the instruments to create the environment. Berkoff has also been seen to constitute some of the visual techniques used in Kabuki, a highly stylized, highly rhythmic classicalJapanese form of theatre. Kabuki music rises about the body of the actor. It does not chew the fat itself upon the actor, but instead gives musical and rhythmic expression to his movement, and in doing so amplifications the flow of theatrical expressiveness toward the audience. (1974, p.113) Another aspect of Japanese Kabuki is evident in Berkoffs dealings with masks and face paint.Even though Berkoff appropriated production styles from others and adapted the turn to words from a novel, the end result was uniquely Berkovian. In Mediation of Metamorphosis (1995) Berkoff seems to somewhat challenge someone to define his style when he writes, More than ever I feel my work develop into a kind of school, not by rigid formula but by learning certain techniques which expand your ideology and communication skills. (1995, p.137) There are themes that have undeniably remained relatively co nstant throughout Berkoffs work, themes that can be seen as somewhat of a base to the Berkovian theoretical framework. These themes I speak of are routed mainly in the belief that the actors instincts should be trusted over all else and the job of theory is to help evoke these instincts. Berkoffs common themes of commodious physical expression, transformation, and over- amplify experimental emphasis upon the mouth word should therefore be used as a means to evoke and exaggerate the actor instincts when dealing with the character.The atmosphere is in the arduous which should come from the throats of the actors. Therefore their sound can control and amplify their situation, since people make sounds as intimately as moving and speaking. This is total and human, and in this way you return to the actor his mimetic gifts and his oral expressiveness. At the same time one is eyesight the situation in human terms, as a story told to us by players. (Gambit, 1978, p.17)Berkoff believes ac tors should create their declare sounds and so breaks traditional mime conventions. uniform many of Le Coqs students, Berkoff freely changes the pure form of mime to create his own individual(a) style. Surprisingly Le Coq encourages this practice as it congenital to his belief in allowing the actor to work as an individual, believing it is substantial to be open and not to copy the style of someone else because you leave alone never be as good as he is. each is better in his own style (Lust, p.106).In drawing from this extract it is assailable that I believe Berkoff is often sometimes regarded too highly for originating his performance style when thinking in particular about his instruction of individual development. Most of his performance style is derived from Le Coq who has been proven to have whole roots in the practice of Commedia delle Arte. It seems that close of the Berkovian individuality stems from his Berkoffs own mannerisms. InModern and Post-Modern Mime, doubti ng doubting Thomas Leabhart summarizes the runs upon Le CoqLecoqsschool is one of those theatres that, rather than being a rsum of what has happened, has helped young performers set new directions and so revitalize the theatre. Lecoqs whole vision of the theatre is the likes of Copeaus, remain on the fringes of the commercial theatre, not wanting to give themselves to it as it exists. They, like their teacher, work apart, preserve their artistic vision, nurture their strength, and steadily increase their power to influence the course of theatre history. (1989, p.101-102)Like Lusts definition of postmodern mime, Leabharts summary of Le Coqs influence is applicable to Berkoff.Previously in 1973, Berkoff and The capital of the United Kingdom Group declared their own mission statementTo express play in the most vital way imaginable to perform at the height of ones powers with all the available means. That is, through the intercommunicate word, gesture, mime and music. sometimes the emphasis on one, sometimes on the other.(Theatre Quarterly, 1978, p.39)This philosophical statement is an beau ideal example of the constants that have remained throughout Berkoffs subsequent career stylised movement, mime, exaggerated vocal work, direct address, asides, and improvisation are components of nearly every Berkovian performance. Berkoff expects actors to allow foringly sacrifice themselves physically and emotionally, ready to perform whatever tasks are requisite to illuminate the text.When dealing with texts, as a director, Berkoff does not seek to discover a literal reproduction of texts on stage. It rare to see Berkoff relying on the intent of the author, instead he uses the texts to relay his own ideas on stage. He hasnt denied this. He said himself said that his version of Hamlet (1979) was a dissection of the play (I am Hamlet, 1989), and his staging of Agamemnon was attempted as an analysis of the play rather than a realistic rendering. (2007, p.123)Berkoff p redominantly always sees the set as his own responsibility as he believes that it is vital in accordance with his sought after aesthetic and theoretical projection. Most of the time he is seen to use minimalist sets usually consisting of one stationary prop, a sofa or a table for example. He believes that any mental environment desired can be created using mime and so it is unnecessary for excessive use of props. Many of his works have been performed in tight close ninny environments with extensive use of glaring light and shadow which seek to punctuate the physical presence on stage.Forever on a seek for vitality Berkoff is very prone to break theatrical conventions, resulting in a style of heavily a contradictory nature. These contradictions are a cooperator of his determination to see how I could bring mime together with the spoken word as its opposite partner, creating the form and structure of the piece (1995, p.53). Characteristics such as this can be easily traced to hi s training with Jacques Le Coq, whom Thomas Leabhart, author of And Post-Modern Mime (1989), as modern teaching mime to talk. (1989, p.101) To ruffle these opposites, Berkoff relies on mime, a traditionally silent form, however he cherishes the spoken word his productions are very over-the-top energy wise yet depend on great subtlety the actor should never certify himself to be self-conscious yet his presented self is very much so Berkoff carefully choreographs movement yet he encourages improvisation.Other sources of Berkovian theory is grow in interviews and short articles (some of which Berkoff has written) which have been printed in various journals. One the most significant of these articles titled Three Theatre Manifestos. (1978) In an interview present in the Three Theatre Manisfestos (1978) Berkoff outlines his philosophy which, according to him, has changed little through the years he summarizes his theories by statingIn the end there is altogether the actor, his body, mind and voiceThe actor exists without the playhe can improvise, be silent, mime, make sounds and be a witness. (1978, p.11)Another extract from Three Theatre Manifestos depicts Berkoff sounding remarkably kindred to Antoni Artaud and his Threatre of Cruelty Acting for me is the closest metaphor to human sacrifice on the stage (1978, p.7) other echo the thoughts of Brecht By describing the accident, the witness becomes the accident he is there reliving it. (1978, p.11) The visual elements of a Berkovian production are strikingly stark. Classical Greek theatre, Japanese Kabuki, and Vsevelod Meyerholds constructivism, are particularly influential on Berkoffs visual aesthetic.By mixing minimal sets with very theatrical costumes, masks, and lighting, the visual accent is on the actor. Though the costumes draw attention to themselves, they serve to emphasize the performer and help to create the environment and the characterization.To draw a conclusion on Berkoffs authenticity in theat re one must take at look at his work in a broader sense. Berkoffs contribution and influence upon theatre is clear, but his place as a name in history in questionable. Berkoffs performance aesthetic will undoubtedly always exist in various different forms but whether he will be credited with association is a question for future historians. However because his work is thoroughly grounded in the works of many famous theatre names his style will undoubtedly be incorporated into many future artists works knowingly or not.BibliographyBerkoff, S (1995) Mediations on Metamorphosis, London Faber and FaberBerkoff, S (1978) Three Theatre Manifestos.Gambit vol.32 p.7-21Berkoff, S (1989) I am Hamlet. sore York Grove Weidenfeld,Interview with Anthony Claire.Anthony Claire Show. BBC Radio, London. N. dat.Berkoff, S (1996) Agamemnon and The Fall of the House of Usher. Oxford Amber driveway PressElder, B (1978) Doing the Inexpressible Uncommonly Well. Theatre Quarterly, p.37-43Ernst, E (1974) The Kabuki Theatre, hello, University of Hawaii PressLeabhart, T (1989) Modern and Post-Modern Mime. New York St. Martins.Lust, A (2000) From the Greek Mimes to marcel Marceau and Beyond Mimes, Actors, Pierrots, and Clowns A Chronicle Of The Many Visages Of Mime In Theatre. Kent, Scarecrow.Keefe, J (2007) Physical theatres A Critical Reader, London, Routledge