Physical Theatre: Its Possibilities and Limits

In this session, three theatre artists will speak about what attracted them to physical theatre and describe the nature of their involvement in the teaching and practice of this stylised form of performance. As their work as directors and actors has also extended beyond physical theatre, they will reflect on the reasons for their divergent artistic choices. Physical theatre has many strengths. Most notably, it can overcome language barriers, express what words cannot, connect with audiences at a visceral level, harness the ideas and creativity of the whole group, and rely on minimalist scenography. But equally, it is constrained by the very characteristics that set it apart from other theatre styles. This session will conclude with a discussion on the limits of physical theatre and the creative strategies that can prevent style from overshadowing substance. About the Participants Ashwath Bhatt Ashwath Bhatt is a Mumbai-based screen and stage artist, who has worked with acclaimed filmmakers and reputed theatre companies both in India and abroad. He has acted under the direction of various Indian and international theatre luminaries, and conducted workshops on various aspects of acting worldwide. He serves on the selection panel of LAMDA in India as well as for the Inlaks Theatre Awards, of which he is the co-creator. He teaches at various prestigious institutions in India and overseas. He is widely known for his work on the ‘Red Nose Clowning’ in India. In 2007, he established a nonprofit trust called the Theatre Garage Project. His work is guided by the idea of finding something in nothing. He recently directed the play Paladin based on the best-selling book When Breath Becomes Air by Dr. Paul Kalanithi. Tushar Pandey Tushar Pandey is an actor, director and theatre educator with over two decades of experience in performance, teaching and devised theatre. He is a graduate of the National School of Drama, India, and has trained in physical theatre and Lecoq pedagogy at the London International School of Performing Arts (LISPA), London. His work has involved acting, directing, devising and teaching across theatre and film, with a particular interest in movement, physicality and the relationship between text and performance. He has worked on projects in India and internationally, including in England, Scotland, Greece, Dubai and China. Tushar serves on the Board of the Drama Schools Foundation Mumbai and has been a guest faculty at the National School of Drama, Delhi and Sikkim. His screen work includes Chhichhore, Pink, Hum Chaar, Lost and Aashram. Vivek Vijayakumaran Vivek Vijayakumaran is a Bengaluru-based theatre director, actor, and pedagogue with over 15 years of experience in performance, embodied research, and actor training. Trained under masters including Heisnam Kanhailal, Guru G. Venu, and at the Workcenter of Jerzy Grotowski and Thomas Richards, his practice integrates traditional Indian performance frameworks like Navarasa with contemporary physical theatre. His paper on his pedagogy of training contemporary actors in Navarasas has been selected for publication. As Artistic Director of Our Theatre Collective and Studio, Vivek leads experimental, research-driven performance initiatives. His original stage work includes directing the contemporary physical theatre piece The Thumb and acclaimed productions like IT IS YOU. He has acted in the feature film, Pada. Vivek has served as visiting faculty at Drama School Mumbai and Azim Premji University, and trained over 300 performers in India. He was named one of Forbes India’s 12