Constructure, Structure, Substructure

 

I

 Unit: The Structure

Theme: Constructure, Structure, Substructure

 

Introduction

In all fictionalized performing forms, depending on the aesthetic structure of the performance, actors use extra- daily scenic behavior. in a fictionalized manner, which is different from daily behavior. The use of terms such as constructure, structure and substructure should make sense in the context of embodied movement within the stage context.

 

II

Learning Objectives

 

• Understand the concepts explored in class
• Explain the importance of extra-daily techniques for actors 
• Gain an awareness of how these concepts aid the development of your solo work
• Embody these concepts through movement and expression
  

III

Main Lesson

 

Constructure

Although it is considered obsolete, we will use the term constructure to describe the process or act of constructing (or the manner in which movement is constructed) using all the elements of extra-daily techniques.  Extra-daily techniques are those movement techniques we have explored in class.

All the grounding and guiding information that the audience needs, such as:

• who the characters are
• where they are, 
• what time of day it is
• conform the body language of the performer.

Like the word "context," constructure can also be any other additional information the audience needs to interpret and accurately understand what is happening in the movement story.

Question 1

 Based on your work so far, how would you describe your own experience with the process of constructing movement?

2

Structure 

Structure comes from the Latin word structura which means "a fitting together, building." Your body structure can refer to how your muscles and bones fit together. A movement phrase structure (choreography) is the movement put together, including the elements you choose to use from all the elements of extra-daily techniques explored in class. Structure is usually a noun, but it can also be a verb meaning to create order, like if you structure a movement phrase to express an extra-verbal or even non-verbal story.

 

Question 2

The structure of the phrase you created in class made possible the work with the text you brought to class? Explain.

3

Substructure

 

It is an underlying or supporting movement structure devised by the performer to tell that part of the story that escapes the lines of the text and/or the overt movement structure explored during the structuring (dancing) of the character (or play at a larger scale) during the creative (rehearsal) process. 

The substructure can stand on its own when used as the primary source of story telling (a movement piece, a dance piece or a physical theater piece, an opera).  Thus, the substructure, as the subtext, can also happen through implications. 

It can also use contradictions of one sort or another [I avoid movement literality (illustration) by verbally saying/singing "I love you," when what I am really saying in movement has no connection with stereotypical ways of saying it in abstract movement [and/or abstract gesture].

*Both structure and substructure allow the performer to have some schema (essential form) to rely on when nothing else works.

 

Question 3

How does the substructure enrich the movement proposed by the actor or dancer?

Source:

 https://writershelpingwriters.net/2018/11/context-text-and-subtext-what-they-are-and-how-they-help-storytelling/

 

4

 

Eugenio Barba and Extra-Daily Scenic Behaviour: Influences of Stanislavski, Meyerhold and Grotowski* 

 (Grotowsky Poor Theater and Total Act, page 33)

 

IV

 A Note to Remember

 The actor must develop a theatre-specific manner of behaviour in order to reveal the truth overshadowed by daily behaviour on the stage. The scenic behaviour Grotowski developed with the actors aims to liberate them from these obstacles. The actions of the actor aiming to be freed from natural behaviour have an extra-daily quality.

 

 V

Case Study

 

Robin Hood 1- Off Balance, International Devising Theatre Company

 

VI

Activity 

1

 Stops

Creative Work: work on your work-in-progress using concepts such as context, text, and subtext, as well as constructure, structure, and substructure.

 Those who are making up, please, do the work on your own and add your reflection to Discussion Board.

2

Rehearsal

 

VII

Journaling

 

VIII 

Glossary

IX

Sources

Eugenio Barba and Extra-Daily Scenic Behaviour:
Influences of Stanislavski, Meyerhold and Grotowski. https://dergipark.org.tr/en/download/article-file/1342459