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Steven Berkoff.

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Presentation on theme: "Steven Berkoff."— Presentation transcript:

1 Steven Berkoff

2 Seven states of tension.
Berkoff’s work exists at 1, 2 and 6, 7- it is all about extremes. Freezes should be held with great tension and with exaggerated facial expressions ‘Movement is another language’

3 Berkoff’s theatre The Actor creates the whole environment physically.
All props are mimed or physically embodied by part of the actors anatomy This should make theatre more of a spectacle Test the level of physical control by using extremes of pace- slow/ fast “I despise naturalism, a good actor should need no props.” Berkoff

4 Influences Mime Creating the environment physically
Physical Theatre of Jacques Le Coq Mime Creating the environment physically 7 states of tension Heightened Gesture Brecht’s alienation Plays seek not to recreate real life, but to revel in the spectacle of theatre At times plays have been episodic and had a political message (Sink The Belgrano) The notion of Gestus and exaggerated characters/ stereotypes Greek Theatre Use of a chorus Long verse speeches Directly addressing an audience

5 So to play a Berkoff character
You should have hyperbolic physicality (clear Gestus- heightened gesture) play up the stereotype. Play with the rhythm and tempo of the verse, enjoy the flow of the language Deliver dialogue straight out to the audience- not to the other actor Create the environment around you physically using mime and sound effects Play the scene with great tension in your body.

6 Major Berkoff plays ‘Newer Berkoff’* offensive, shocking, character driven plays East West Greek Kvetch Decadence ‘Older Berkoff’ dark, chorus driven plays The Trial Metamorphosis * I say ‘newer’ but these plays came out between 1975 and 1986, so they are all about 30 years old! – after this he tended to do 1 man shows in the 90s (Dog, Tell Tale Heart, Shakespeare’s Villains)

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