What is Theatrical Bellydance?

I've been involved in many a discussion about what makes Bellydance "Theatrical".

Let me put forth the Wikipedia definition of theatre, and go from there:

"Theatre (in American English usually theater^[1]) is a collaborative form of fine art that uses live performers to present the experience of a real or imagined event before a live audience in a specific place. The performers may communicate this experience to the audience through combinations of gesture, speech, song, music or dance. Elements of design and stagecraft are used to enhance the physicality, presence and immediacy of the experience."

There has been a trend in Bellydance in which many dancers call themselves "Theatrical" Bellydancers. I am very glad for this! But, I do have one condition for my gladness: that the performances that self-described Bellydancers do are indeed "theatrical". 

Photo by Alison Perkel

By the definition above, one with which I mostly agree, theatricality involves the creation of an experience for the audience and the performer. And I would say that it involves communication, the creation of an "event" through which the participants can be transported to another place and time. Or, conversely, or even simultaneously, become more aware of, and deeply involved in, the present. 

To me a truly successful Theatrical performance makes the audience (even other bellydancers!) forget about the technical aspects of a piece; that they become wholly engrossed in the performance, in the story and the emotional experience.

I recently had a discussion with a lovely student of mine about what constitutes "theatricality". She had mentioned how much she enjoyed Theatrical Bellydancer Anasma's performances, in that they have a story with a beginning and ending, and that her work is inspiring in that way. (I, too love Anasma's work.)

Ruth St Denis

Narrative theatre is one way to express oneself as a Theatrical Bellydancer, and one of my favorites (and one of the most difficult to do well.). I think, too, that there are other ways. There is also "Ritual Bellydance", which has its overlapping areas with Theatrical. Ritual can be a theatre event; indeed, it is the oldest form of theatre, transporting us back to ancient Greek and Egyptian ritual-theatre. The public was able to live out the mythical stories of the Gods and Goddesses through the theatrical-ritual performance of the actor-priest/esses.

There is also cabaret style theatricality, which does not necessarily have a ritual or narrative element, but embodies a character on the stage none-the-less. Through watching the Theatrical cabaret performer we are brought into her world, maybe made to laugh, or cry, or become conscious of our own sexuality or foolishness or grace, or inspired to dance ourselves.

I sometimes see performers calling themselves "theatrcial" when they are not. Let me make a few fast friends here: it is not enough to write a great performance intro to be read by the MC stating that one is the goddess such and such doing a shamanistic ritual theatrical piece about the myth of such and such and then get on stage and do the same Tribal schtick that one always does. No. that is not theatrical. Nor is it Theatrical to get dressed up in an elaborate costume and say one is (Fill in the Blank) and then do a bunch of super-duper moves without meaning. Costuming is important but it is only part of the art form.

No. Theatre is an fine art form in itself. It has technique, theory, history, etc. Many dancers (particularly, eh-hem, Tribal Fusion dancers) will complain that Theatrical dancers are not demonstrating enough "technique" in their performances; that they are "resorting" to "tricks" instead of really "dancing". Oh bullshit. (Though maybe this is true sometimes with an unskilled actress) Again, Theatre itself has a technique, a technique that takes years to learn. And, when done well, it can make the difference between dance that is truly art, as opposed to dance that is a series of skillful moves, which  is craft.

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A successful Theatrical piece has both excellent dance form and technique as well as dramatic skill and technique. It also requires an extra element of heart and soul in order to create the magic needed to bring the audience into the experience of the piece. 

To do good Theatrical Bellydance: keep going to Bellydance classes. Study form. Do your drills. But also, study Theatre. Take a class. Try improv. And maybe most important of all: study yourself. Study your psychology. Learn what moves you. Define what you want to express. Take the chance at being emotionally authentic. Be vulnerable. Be bold.

Aepril will be teaching her workshop "A Look Beyond: The Art of Costuming and Male-up for Theatrical Bellydance" on Friday at 6pm at Lumen Obscura in Santa Cruz, CA. 

The Dead Sea: Butoh

An audience member at a show I once performed at told me that my dance performance remided her of the Japanese art of Butoh.

Knowing little about Butoh, I decided to learn more. A few months back I found this beautiful video of the artist Kazuo Ono who was at least in his 80's at the time.

Info from "bobdena" on YouTube:
A short clip of butoh's co-founder Kazuo Ono dancing. Date unknown, approximately 1980, from the documentary Dance of Darkness by Edin Velez.

Kazuo Ohno passed away June 1, 2010, at the age of 103. We lost a great man and a great light to dancers and performers around the world. May we all be blessed with a life as full and rewarding as his was.

The Four-fold Way: An Approach to Performance

I've written what is below based on anthrologist and author Angeles Arrien's "Four Fold Way", a mode of being and practice that is harmony with the deep self and with Nature.

I teach this to my students as a way to approach performance. It is how I endeavor to approach performance. It is also an approach to LIFE!

The Four-fold Way:

1.       Show up:

be present in mind body and spirit.

2.       Pay attention:

Quiet the "noise" of the mind. Sense fully what is currently going on around you. Listen to your body and to the music, note by note. Do not go forward or back in time.

3.       Tell the truth:

 

Be authentic! Be where you are now, as opposed to where you'd like to be. Feel what you are really feeling; your body will always tell you how to do this. Dramatic art versus pretension.

 

4.       Be unattached to outcome: 

 

Staying fully in the present ensures the best outcome. Keep your mind focused on what you are doing, as opposed to what you will do or what you did do. Let go of judgment. Open yourself to life, be a medium for energy as opposed to controlling it. TRUST yourself fully and unconditionally!