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Mummenschanz
Mummenschanz
Mummenschanz is a Swiss mask theater troupe who perform in a surreal mask- and prop-oriented style. Founded in 1972 by Bernie Schürch, Andres Bossard (August 9, 1944 – March 25, 1992), and the Italian-American Floriana Frassetto, the group became popular for its play with bizarre masks and forms, light and shadow, and their subtle choreography.
Mummenschanz is a Swiss mask theater troupe who perform in a surreal mask- and prop-oriented style. Founded in 1972 by Bernie Schürch, Andres Bossard (August 9, 1944 – March 25, 1992), and the Italian-American Floriana Frassetto, the group became popular for its play with bizarre masks and forms, light and shadow, and their subtle choreography.
The name Mummenschanz is German for "mummery," or a play involving mummers. Mummer is an Early Modern English term for a mime artist.
The name Mummenschanz is German for "mummery," or a play involving mummers. Mummer is an Early Modern English term for a mime artist.
After studies with Jacques Lecoq in Paris and Roy Bosier in Rome, and following a three-year period of experimentation, the Mummenschanz Mask Theater was founded in 1972. In 1973, under the direction of producers Arthur Shafman and Robert B. D'Angelo, Mummenschanz toured the USA, Canada, and South America, and later enjoyed a 1,326-performance, three-year run on Broadway (1977–80).
After studies with Jacques Lecoq in Paris and Roy Bosier in Rome, and following a three-year period of experimentation, the Mummenschanz Mask Theater was founded in 1972. In 1973, under the direction of producers Arthur Shafman and Robert B. D'Angelo, Mummenschanz toured the USA, Canada, and South America, and later enjoyed a 1,326-performance, three-year run on Broadway (1977–80).
Mummenschanz means “a play with masks, a play with coincidence’ and this is an apt description of the kind of theatre they produce. The core three members of this company, Bernie Schurch, Floriana Ferassetto and Andres Boassad all met at the Lecoq School. Mummenschanz is often called physical or visual theatre. It is primarily concerned with the concepts of mask. A mask may cover the face or it may cover the entire body with a shape that transforms the original image and transports the audience with this fantasy. Many of Mummenschanz’s scenes present huge body disguising sculptures that move like inventive colourful bizarre creatures which the actor manipulates from inside the object.
Mummenschanz means “a play with masks, a play with coincidence’ and this is an apt description of the kind of theatre they produce. The core three members of this company, Bernie Schurch, Floriana Ferassetto and Andres Boassad all met at the Lecoq School. Mummenschanz is often called physical or visual theatre. It is primarily concerned with the concepts of mask. A mask may cover the face or it may cover the entire body with a shape that transforms the original image and transports the audience with this fantasy. Many of Mummenschanz’s scenes present huge body disguising sculptures that move like inventive colourful bizarre creatures which the actor manipulates from inside the object.
The movement skills taught at Lecoq’s school became an essential part of Mummenschanz.
The movement skills taught at Lecoq’s school became an essential part of Mummenschanz.
The shows are a sequence of scenes and to not link together to tall an overall story. Usually there are no words rather they communicate in the language of gesture. They are concerned with the task of bringing to life the masks and materials with play.
The shows are a sequence of scenes and to not link together to tall an overall story. Usually there are no words rather they communicate in the language of gesture. They are concerned with the task of bringing to life the masks and materials with play.
Mummenschanz 2.mp4Mummenschanz on the Muppet Show (1976) 1 of 5.mp4Théâtre de Complicite/Complicite
Théâtre de Complicite/Complicite
The British theatre company Complicite was founded in 1983 by Simon McBurney, Annabel Arden, and Marcello Magni, who met each other at Lecoq’s School. Its original name was Théâtre de Complicité. Complicite became a large ensemble of different artist who shared some experience of training in Lecoq’s method and through Lecoq’s student, Gaulier in London. With similar training groups the different collaborators of the group can appreciate common goals and use the same language when talking about theatre. Simon McBurney describes this language as “a physical, vocal, musical and architectural language: all those elements which make a theatre language”.
The British theatre company Complicite was founded in 1983 by Simon McBurney, Annabel Arden, and Marcello Magni, who met each other at Lecoq’s School. Its original name was Théâtre de Complicité. Complicite became a large ensemble of different artist who shared some experience of training in Lecoq’s method and through Lecoq’s student, Gaulier in London. With similar training groups the different collaborators of the group can appreciate common goals and use the same language when talking about theatre. Simon McBurney describes this language as “a physical, vocal, musical and architectural language: all those elements which make a theatre language”.
The company is based in London and uses extreme movement to represent their work. "The Company's inimitable style of visual and devised theatre [has] an emphasis on strong, corporeal, poetic and surrealist image supporting text" (Stephen Knapper, 2010, Contemporary European Theatre Directors). Its work has been influenced by Jacques Lecoq. The company produced their first work in 1983. In 1985 they won the Perrier Comedy Award at the Edinburgh Fringe Festival. Their productions often involve dazzling use of technology, such as projection and cameras, as well as lyrical and philosophical contemplation of serious themes.
The company is based in London and uses extreme movement to represent their work. "The Company's inimitable style of visual and devised theatre [has] an emphasis on strong, corporeal, poetic and surrealist image supporting text" (Stephen Knapper, 2010, Contemporary European Theatre Directors). Its work has been influenced by Jacques Lecoq. The company produced their first work in 1983. In 1985 they won the Perrier Comedy Award at the Edinburgh Fringe Festival. Their productions often involve dazzling use of technology, such as projection and cameras, as well as lyrical and philosophical contemplation of serious themes.
How this theatre resonates with Lecoq’s own preoccupation
How this theatre resonates with Lecoq’s own preoccupation
Dramatical devices employed in this piece are the life of material objects, the physicalising of text and the harnessing of individual performers into an ensemble. The stories although fantastical and dreamlike – or nightmarish seen to capture an extraordinary level of detail about human foibles in small-town Poland between the wars. The writing is deeply sensual: at one moment conveying the scents of a hazy summer’s afternoon, another, the emotional anguish of loneliness born from an inability to make real contact with other human beings.
Dramatical devices employed in this piece are the life of material objects, the physicalising of text and the harnessing of individual performers into an ensemble. The stories although fantastical and dreamlike – or nightmarish seen to capture an extraordinary level of detail about human foibles in small-town Poland between the wars. The writing is deeply sensual: at one moment conveying the scents of a hazy summer’s afternoon, another, the emotional anguish of loneliness born from an inability to make real contact with other human beings.
Objects
Objects
The inventive use of objects to create imaginary landscapes is the one of the most defining characteristics of their performance. In this show books that are being read by the characters on stage transform into flying birds that are manipulate by the actor like puppets. The actors view theatrical objects in a playful, non-realistic, transformable way. An object could represent anything that the imagination allows when it is invested with play. Just like the students at the Lecoq School they investigated ways to bring a mask to life through movement and rhythm; the Complicité actors bring inanimate objects to life with a collective imagination, to inspire the imagination of the audience.
The inventive use of objects to create imaginary landscapes is the one of the most defining characteristics of their performance. In this show books that are being read by the characters on stage transform into flying birds that are manipulate by the actor like puppets. The actors view theatrical objects in a playful, non-realistic, transformable way. An object could represent anything that the imagination allows when it is invested with play. Just like the students at the Lecoq School they investigated ways to bring a mask to life through movement and rhythm; the Complicité actors bring inanimate objects to life with a collective imagination, to inspire the imagination of the audience.
Imagination
Imagination
Simon Murray talks about the concept of collective imagination when describing the work of Theatre de Complicité. Lecoq taught his students to seek a form of theatre that does not simply mimic reality, but one that transforms reality as a way of reflecting upon it.
Simon Murray talks about the concept of collective imagination when describing the work of Theatre de Complicité. Lecoq taught his students to seek a form of theatre that does not simply mimic reality, but one that transforms reality as a way of reflecting upon it.
Complicite showreel.mp4Complicite showreel
Complicite showreel
The Street of Crocodiles 01.mp4The Street of Crocodiles is one successful production by Theatre de Complicité that began rehearsals in 1991. The show is based upon the fantastical short stories of Polish write Bruno Schulz (1892-1942), his letters and accounts about this life during the rise of Nazi Germany that were given by Bruno Schulz’s nephew, Jacob Schulz. During the rehearsals, the company gathered research about the life of Bruno Schulz and thoroughly improvised the life they imagined, including the memories, emotions and solitude his writing expresses. Collaboratively the company wrote the dialogue for scenes from their play and used some text from the stories in their original form.
The Street of Crocodiles is one successful production by Theatre de Complicité that began rehearsals in 1991. The show is based upon the fantastical short stories of Polish write Bruno Schulz (1892-1942), his letters and accounts about this life during the rise of Nazi Germany that were given by Bruno Schulz’s nephew, Jacob Schulz. During the rehearsals, the company gathered research about the life of Bruno Schulz and thoroughly improvised the life they imagined, including the memories, emotions and solitude his writing expresses. Collaboratively the company wrote the dialogue for scenes from their play and used some text from the stories in their original form.
The Street of Crocodiles 02.mp4The Street of Crocodiles 03.mp4Report abuse