Steven Berkoff:
Born in London (1937), he studied drama and mime in London and Paris entering a series of repertory companies before forming himself: ‘The London Theatre Group’ in 1968. His plays have had many adaptations meaning they’ve been performed in a variety of countries, in many languages. He starred, directed and toured many adaptations such as: Agamemnon after Aeschlylus, Poe’s The Fall of the House of Usher, Shakespeare’s Coriolanus, playing title roles such as Richard II, Hamlet and Macbeth. Some of his own plays include ‘East, West, The Secret Love Life of Ophelia and Decadence. Berkoff was well known for playing evil characters, which he said ‘all the best actors took on the roles of the villains’
Berkoff used a challenging style of physical theatre more commonly known as ‘total theatre’. He is well known for being one of the ‘major minor contemporary dramatists in Britain.’ Berkoff focused on theatre of self-performance, which intersects between the public and the artist.
Berkoff’s plays often have very metaphorical linguistic twists that enable the actor to consider every height or depth imaginable to create meaningful language. He takes language and creates a roller coaster which the actor can take the audience on for a more unique performance. This could be by continuously juxtaposing between fact and fiction, euphemism and dysphemism, but Berkoff also juxtaposes the opposing worldviews the characters in the play might obtain. The character can often have a fabricated nature particulary in the way of perceiving reality which is suddenly made manifest to the audience which recognise the way the language is being put across contrast with either true meanings or what they know.
The effect most of Berkoff’s plays have is that continual uncertainty of significance. He is able to question the audiences belief with his language and perception the characters have as a vehicles of accurate communication and somewhat universal truth.
There is not only a very detailed language style - but the physical side is very exaggerated. It is a stylized mime, exaggerating the facial expressions. It allows the actor to externalise internal emotions while using third person address, rising up ideas of subconscious thoughts or subtext. Rhythm is used through the voice and body to create a emphasise every moment with thought, this allows a more abstract performance of the voice and ensemble where there is physicalisation of objects because this pushed the boundaries of his performances.
Some of Berkoff’s main influences are Laurence Olivier, Edmund Kean, Bertolt Brecht, Antonin Artaud and Jean Louis-Barrault.
Born in London (1937), he studied drama and mime in London and Paris entering a series of repertory companies before forming himself: ‘The London Theatre Group’ in 1968. His plays have had many adaptations meaning they’ve been performed in a variety of countries, in many languages. He starred, directed and toured many adaptations such as: Agamemnon after Aeschlylus, Poe’s The Fall of the House of Usher, Shakespeare’s Coriolanus, playing title roles such as Richard II, Hamlet and Macbeth. Some of his own plays include ‘East, West, The Secret Love Life of Ophelia and Decadence. Berkoff was well known for playing evil characters, which he said ‘all the best actors took on the roles of the villains’
Berkoff used a challenging style of physical theatre more commonly known as ‘total theatre’. He is well known for being one of the ‘major minor contemporary dramatists in Britain.’ Berkoff focused on theatre of self-performance, which intersects between the public and the artist.
Berkoff’s plays often have very metaphorical linguistic twists that enable the actor to consider every height or depth imaginable to create meaningful language. He takes language and creates a roller coaster which the actor can take the audience on for a more unique performance. This could be by continuously juxtaposing between fact and fiction, euphemism and dysphemism, but Berkoff also juxtaposes the opposing worldviews the characters in the play might obtain. The character can often have a fabricated nature particulary in the way of perceiving reality which is suddenly made manifest to the audience which recognise the way the language is being put across contrast with either true meanings or what they know.
The effect most of Berkoff’s plays have is that continual uncertainty of significance. He is able to question the audiences belief with his language and perception the characters have as a vehicles of accurate communication and somewhat universal truth.
There is not only a very detailed language style - but the physical side is very exaggerated. It is a stylized mime, exaggerating the facial expressions. It allows the actor to externalise internal emotions while using third person address, rising up ideas of subconscious thoughts or subtext. Rhythm is used through the voice and body to create a emphasise every moment with thought, this allows a more abstract performance of the voice and ensemble where there is physicalisation of objects because this pushed the boundaries of his performances.
Some of Berkoff’s main influences are Laurence Olivier, Edmund Kean, Bertolt Brecht, Antonin Artaud and Jean Louis-Barrault.
No comments:
Post a Comment