The fifth-semester acting students of theatre arts, had the privilege of training with Ridrigo, the Co-Artistic Director of 5ANGRYMen, a distinguished physical theatre company from Melbourne, Australia. This collaboration was possible due to the efforts of Department of Theatre Arts, S.N School of Arts and Communication, University of Hyderabad, The Institution of Eminence (IoE), University of Hyderabad (UoH), 5 Angry Men Physical Theatre company, Melbourne Australia, it’s artistic director STEVE PHILLIPS and RODRIGO CALDERÓN, The Maitri Cultural Partnerships program, Centre for Australia India Relations, and Ramith Ramesh & Prajith K Prasad, founders of The Art Workers Hyderabad. The result was nothing short of exceptional. Through this collaboration, Rodrigo could share with us the rigorous and innovative training methodology that 5ANGRYMen has developed over the years.
The training was intense and meticulously designed to meet the high standards required for 5ANGRYMen’s physically demanding performances. We were introduced to techniques that pushed our physical boundaries, while also deepening our understanding of the discipline and commitment required in physical theatre. This collaboration not only provided an enriching experience for us but also highlighted the importance of cultural exchange in the arts. The blend of Australian and Indian artistic practices created a unique and dynamic learning environment, further strengthening the artistic ties between the two nations. Overall, this collaboration stands as a testament to the power of international partnerships in the arts, and the incredible impact they can have on the development of young artists. Rodrigo’s contribution, through his expertise and passion for physical theatre, has left a lasting impression on us students and the broader artistic community at the University of Hyderabad.
The session was a masterful blend of psycho-physical exercises, drawing heavily from the Suzuki Method for Actor’s Training, Meyerhold’s Biomechanics, and various Asian physical forms, including butoh, Srimpi, and Baris. These diverse influences came together to explore the performer’s body in a state of ‘stasis,’ challenging participants to engage deeply with their physical presence within a group dynamic.
The training session was meticulously structured into three distinct stages: Warm-up, Form, and Play, each serving a crucial role in the development of both the individual performer and the collective Ensemble.
The session commenced with an explosive and dynamic warm-up, designed to energize the body, sharpen the mind, and foster a deep connection among participants. This stage was crucial in preparing the performers both physically and mentally, allowing them to enter a focused and heightened state of awareness.
4 Beats Exercise: The warm-up began with the 4 Beats exercise, an intense rhythmic drill that required students to synchronize their movements with precise, percussive beats. This exercise not only heightened our physical responsiveness but also emphasized the importance of timing, rhythm, and unity within the group.
8 counts: Building on the momentum, this exercise focused on precise timing and synchronization within the group. We had to execute a series of movements within a strict eight-count framework, fostering unity and an acute sense of timing across the ensemble.
Samurai: This exercise demanded a high level of physical control and mental focus. Students embodied the deliberate and powerful movements of a samurai, emphasizing both fluidity and strength. This not only refined our physicality but also honed our ability to maintain intense concentration and awareness.
The Walks: After the high-intensity drills, the session transitioned to a series of 10 distinct walks, warming up the 16 feet. These walks served as a bridge between the mind and body, expanding the physical vocabulary.
Salute to the Guardians: The warm-up concluded with the “Salute to the Guardians,” an exercise where rotating from centre is required, beginning from the north and moving through each cardinal direction. This brief but grounding movement connected us to the space and each other, symbolizing readiness and respect for the creative process ahead.
The warm-up was meticulously designed to tune the body as an instrument, preparing it for the demands of the subsequent stages. More importantly, it fostered a strong connection within the ensemble, creating a shared energy that elevated the collective experience. Through this intense physical preparation, we were able to shed external distractions and immerse themselves fully in the training, ready to engage with the work on a deeper level.
Next came the “form” segment, in which students were paired up to practice biomechanics, focusing on the “Slap Etude.” Biomechanics, developed by Russian theatre director Vsevolod Meyerhold, is an actor training system designed to enhance the emotional and physical range of a performance. Unlike naturalistic theatre, which focuses on realism, biomechanics emphasizes physicality, rhythm, and precise movement to convey complex emotions and ideas.
Through the “Slap Etude,” we explored key biomechanics principles such as tension, balance, and rhythm. This exercise required us to execute choreographed movements with clarity and intention, helping us understand how to use physicality to express emotions and ideas beyond the limits of traditional acting techniques.
The final segment of the workshop, “play,” allowed the students to integrate the skills we had developed in earlier segments, focusing on creative expression and ensemble work.
First was “Grupirovka Bomb,” where we explored control and connection with their bodies. This exercise started with physical movements, later incorporating vocal elements, showing how the voice is a natural extension of the body.
Next was “Sueño,” meaning “dream” in Spanish. This improvisational walk emerged to include an injured student, emphasizing fluid, instinctual movement. It showcased strong ensemble work as the group adapted to the student’s needs, highlighting collaboration and collective creativity.
The final exercise, “River and Piaf,” focused on body control and group coordination. This piece required us to maintain precise movements while staying in sync with each other, blending control with emotional expression.
This segment allowed us to bring together our physical, vocal, and collaborative skills, culminating the training in a unified, expressive performance.
All of us found the training to be a rigorous yet enlightening journey, one that questioned and redefined the role of the individual within a collective. The workshop significantly improved our control, precision, and sense of centre in movements and deepened our understanding of ensemble work, teaching us the importance of working together with synchronized energy and a shared sense of responsibility. The exchange of energy between teacher and students was a key aspect, enhancing the learning experience and making the audience-actor relationship more dynamic. Many of us felt the workshop challenged us to elevate our skills, fostering a greater respect for each other’s efforts. The combination of physical discipline and artistic exploration provided a unique and enriching experience, leaving us with a deeper understanding of our own bodies and our place within an ensemble. Rodrigo’s ability to guide the group through these complex exercises with both intensity and care was highly praised, making this session a standout experience for all involved.
Rodrigo, when interviewed about the workshop and his experience with the students, said that he observed a significant shift in the group dynamic. Initially, the the students were disconnected, working independently with varying energies. Recognizing this, Rodrigo focused the first few days on exercises that fostered unity and collaboration. By the end, the group had achieved a collective understanding that hadn’t been present before. Rodrigo encouraged the students to continue exploring their craft individually, emphasizing that while he served as a guide, the real discovery was within themselves. The workshop not only enriched the students but also offered Rodrigo new insights into his own practices, revealing the profound impact of his teachings. The experience left him with a deeper belief in the power of shared learning and a renewed sense of purpose in what he can offer going forward.
Review: Niharika Choulda, 5th semester, Department of Theatre Arts,