In the 1980s companies began to experiment with a more physical type
of theatre. They wanted to get away from the restraints of realistic and
naturalistic drama and create an energetic visual theatre that combined
strong design with choreography and physical imagery. Influenced by the
work of Philippe Gaulier and Jacques Lecoq companies such as Theatre de
Complicite applied their style to the reworking of classic texts and created
new work in collaboration with writers.
This departure was not completely new - Peter Brook in the 1960s had
become interested in a more physical and visceral theatre. He had been
inspired both by Japanese Noh theatre and influenced by the work of Adrienne
Mnouchkine’s Théâtre du Soleil in Paris. Earlier innovators in this area included Bauhaus, Dadaist and
surrealist performers; choreographer Rudolf Laban; and directors Meyerhold and Jerzy Grotowski and
Richard Schechozer.
In the 1980s and 90s companies like Forced Entertainment sought to create a theatre reflecting the collision of styles and bombardment of imagery that pervaded the late
20th century. Some Confusions in the Law and About Love gave expression to a bleak post-Thatcher landscape.
In the 1990s young experimental companies such as Volcano and Frantic Assembly developed a unique style, fusing physical theatre, choreography and text. The cross over
between dance and theatre was also explored by dance companies such as DV8 whose work bears resemblance to that of Pina Bausch.
Companies have also combined other visual media with theatre. Forkbeard Fantasy explores the comic dynamic between film and live performance, allowing actors to merge,
apparently seamlessly, from real life into film.
Introduction
The Royal Court Theatre
