A few weeks ago my friend Mark (@echolocated) reached out asking to pick my brain about mapmaking activities for a rehearsal plan built around creating space. He had played a couple different games with me where we made maps together, and he was curious about using those approaches to create a shared world with his ensemble. I was super excited about the prompt because games and theatre both define spaces and I thought there might be some cool interactions between the two. Today we’re going to look at developing maps and shared locations and get into why this is a great tool for devised theatre work.
This week’s topic comes courtesy of Sean DMR (@flying_grizzly and www.flyinggrizzly.net) who tagged me into an interesting thread on twitter looking at role-playing game frameworks through the lens of Lecoq territories. My graduate training at Pig Iron School was rooted in Lecoq, so I’m familiar with the territories through both an academic and a creative lens, but I hadn’t considered applying them to tabletop games. I’m delighted that Sean put this idea on my desk.
Alright, so what’s a territory? Simply put, the territories are different dramatic categories of theatre; the main ones we explore at Pig Iron are melodrama, commedia, bouffon, tragic chorus, and clown. As Sean points out, they are not the same as genre and you could make a commedia piece that is sci-fi just as easily as a western, for example. They’re also not the same as style. The territories may lead us towards specific style choices like slapstick or archetype, but the core identity of a territory comes from a dynamic drive that is amplified by the relationship between the characters and the world of the play.
Beyond styles or genres, we seek to discover the motors of play which are at work in each territory, so that it might inspire creative work. And this creative work must always be of our time….......Our method is to approach the ‘territories of drama’ as if theatre were still to be invented.