Corporeal & Physical Theatre Lineage

CORPOREAL MIME & PHYSICAL THEATRE LINEAGE

This genealogy concerns knowledge transmitted primarily through embodied practice, workshops, pedagogical lineages and physical/devised theatre.

It includes:

• Étienne Decroux / Corporeal Mime;
• Antonin Artaud / Theatre of Cruelty;
• Jan Fabre / Troubleyn;
• Pina Bausch / Tanztheater Wuppertal;
• Robert Wilson;
• Lloyd Newson / DV8 Physical Theatre;
• Wim Vandekeybus / Ultima Vez;
• Grzegorz Bral / Song of the Goat;
• Mary Overlie / Six Viewpoints;
• Marco Donnarumma;
• Mart Kangro;
• Clément Layes;
• Jeremy Nedd;
• Ephia Gburek.

INTERSECTIONS

This is not a closed or exclusive lineage.

Its connections include:

• Decroux → authority of structure and technique;
• Artaud → cruelty, bodily poetry and consumption;
• Fabre → cruelty as skill rather than self-immolation;
• Overlie → horizontality, anarchism and permission rather than discipline;
• DV8 → form inseparable from politics and social urgency;
• Ultima Vez → intensity, risk and the later questioning of the “pedestal”;
• Bausch → existential presence;
• Wilson → architecture of the sensible;
• Song of the Goat → polyphony and sacred/profane tensions;
• Donnarumma → affectability versus control;
• Kangro → structure and autonomy;
• Layes → object phenomenology;
• Nedd → metabolic and rhythmic subjectivity;
• Ephia Gburek → transformation without destruction.

The genealogy intersects with the theoretical apparatus and sacrificial/durational performance rather than standing apart from them.