Carole Drouelle

University Paris 8, Paris, France

We propose a discussion about the processes of migration of the martial gesture onto the theatre stage from a comparative and transcultural perspective. The concept of “migrations of gesture”, which originated in contemporary dance analyses (Carrie Noland and Sally Ann Ness), was used by Gabriele Sofia to study a gesture from Meyerhold’s biomechanics. We borrow it here to analyse the ways in which martial gesture is transformed in theatre.

The martial gesture and the theatrical gesture have parameters in common, but also characteristics that are particular to them; their functions and effectiveness are different in nature. We will draw up an epistemology of these two types of gesture.

A study of the gesture associated with a martial art in four classical Asian theatrical forms (xiqu, kathakali, noh, kabuki) and in contemporary creations inspired by them in Europe, has enabled us to identify three types of migration process of the martial gesture on stage and to draw up a comparative framework. This migration, which can be understood as an “infinity loop model” (Farrer), nevertheless has its limits and artistic dead ends, which we will discuss.

Key words: gesture; energy; rhythm; effectiveness; decipherability/credibility.

References:

FARRER DS, « Efficacy and Entertainment in Martial Arts Studies. Anthropological perspectives », Martial Arts Studies, 1, 2015, p. 34-45.

NOLAND Carrie et NESS Sally Ann (coll.), Migrations of Gesture, Minneapolis-London, University of Minnesota Press, 2008.

SOFIA Gabriele, « Migration du geste. Le “saut” de Giovanni Grasso, des marionnettes à Meyerhold. », Revue d’Histoire du Théâtre, 2020/3, p. 77-88.