Technical Repertoire

Initial Form

Its purpose is to introduce the company and the theme of the day.

In it, the actors enter the stage one by one, striking a pose that expresses a dimension of the theme to be addressed. Each time an actor joins the stage, they must make physical contact with the cast already on stage.

Then, each actor takes turns coming out to say their name and share a short personal story related to the theme. The group acts out this scene briefly and then freezes in another organic whole. This process is repeated until the entire cast, including musicians and conductor, has come out.

Berkeley Fluid

This is a fun and non-committal way to start warming up the relationship with the audience.

To perform it, the cast, in neutral position, walks around the space in all directions. Meanwhile, the conductor asks the audience for a word. The company acts out that word very briefly and returns to neutral walking.

When the conductor asks for “one last word,” it is the signal for the actors to know that the technique is over, and after that last performance, the blank sheet must be formed.

Fluid Sculpture

The Fluid Sculpture is the most iconic short form.

Its function is to represent the different faces of a static event, generally from the narrator’s inner world, such as a complex emotion.

To perform it, the acting team must form an organic whole in the center of the stage. Each artist represents a dimension of the event to be represented. It is advisable to position yourselves at different heights and face in different angles.

Generally, the Fluid Sculpture is arranged in an intuitive rhythm similar to a loop, which is repeated until the company spontaneously decides to freeze the statue.

Fluid in Transformation

This is a variation of Fluid Sculpture in which there are two situations, an initial one and a final one. This may be because the narrator has told something that has changed or that they want or fear will change.

To perform it, a Fluid Sculpture representing the initial situation is executed. When finished, it is frozen very briefly so that, from the same place in space, the final situation can be represented with another contiguous fluid sculpture. When the latter is finished, it is frozen permanently.

Machine

This is another variation of the Fluid Sculpture, especially suitable for very repetitive narratives or those with a very predominant component of anger.

In it, the organic whole is composed in phases. First, one actor comes out and freezes into a statue, then the next, and so on. When the entire cast has been placed, in phases, sound is added first, then movement.

Pairs

This technique is ideal for representing dualities. These can be stories such as: “I don’t know whether to make this decision or that one” or “my head tells me this, but my body tells me that.”

To perform it, the actors form pairs that perform different types of pairs. There are three types of pairs:

• Rotative: Back to back, the actors rotate counterclockwise. The first one to face the audience defends decision A, and the next one defends decision B. They rotate three times.
• Saboteur: One actor faces the audience and defends decision A. Another stands behind him and, using arguments in favor of decision B, sabotages him physically and mentally, sowing doubts in his mind. Finally, actor B takes control and steps forward, reversing the roles. This is repeated several times.
• Mind-body: Two actors stand side by side. The one on the right, with a completely neutral body language, expresses the dilemma discursively in the most rational way possible. The actor on the left reacts emotionally through body language and guttural sounds to what is being said.

Transformation

Technique appropriate for representing a change or evolution in a situation or in a person’s way of being. It can be something that has happened or an aspiration.

To carry it out, the cast forms an organic whole at point A (back left corner). The figure moves diagonally across the space towards point B (front right corner). While the group is at point A, it must represent the initial situation before the transformation. When it has reached point B, the final situation must be represented.

Any advance that occurs in space must be accompanied by a change in expressiveness that suggests that something has progressed toward transformation. Small setbacks in the transformation can be represented, which must be consistently accompanied by setbacks in space.

Narrative V

Narrative V is the most iconic medium form.

It is used to represent any story with narrative content, especially if it is a clear situation that does not require emphasizing any special dimension.

The Story and its Fog

A variation of the Narrative V that serves to bring the latent elements of a story to the forefront. Latent elements are those dimensions of the story that are not entirely explicit and that the narrator puts in the background or does not even mention, but which may be vitally important to portray and reveal in order to understand the story in depth.

In this technique, the protagonist performs a solo in the same way as in Narrative V. The rest of the cast continues to form a V, but this time they emulate fog with their expressiveness. This fog reacts to the emotional intensity of the narration.

At some point, each of the fogs will come to the front of the stage, freezing the rest of the actors. This fog will portray one of these latent elements in a brief solo, then return to its position and continue the formation. Typically, each of the mists will perform a solo.

Three-Part Story

This form uses three actors who start from a neutral position to perform three solos that correspond to the introduction, climax, and denouement of each story. At the end of each solo, they freeze in a statue that is significant to the part they represent.

The introduction represents how things were before the key narrative element that induces the transformation of events. The climax is the central turning point where the most significant events take place. The denouement is the new normal that is reached after the most impactful events.

In each of the solos, a central emotion must predominate, clearly differentiated from those of the other actors.

Rhombus

This technique is ideal for representing the multiplicity of elements and dimensions of a story.

To perform it, a rhombus or pentagon is formed, and the actor standing at the front of the stage performs a short solo based on a fragment of the story. When this performance is over, the actor turns in a spiral and the entire cast changes position in a counterclockwise direction. The actors in the rear positions imitate the body language and emotionality of the front actor, as in Narrative V.

This process is repeated several times until an actor decides to end their performance by freezing into a statue.

Echo

This form is used to go beyond what the narrator tells. It provides echoes of stories and similar elements that are increasingly distant. It is a way of opening up the story to related possibilities and narratives.

In this form, the actors stand in the position of the figure, in a neutral position. The first actor performs a solo representing the narrated story and, when finished, crouches down. At that moment, the second actor begins their solo, interpreting associations close to the main story, also crouching down when finished.

Thirdly, the back row begins to act, with several simultaneous solos, in a somewhat chaotic manner, representing associations distant from the story: remote possibilities, improbable consequences, ideas outside the narrator’s frame of thought, etc.

Amoeba Chorus

Particularly suitable for very chaotic stories with many angles, disordered elements, or a lack of internal coherence.

To perform it, the actors form a ball of bodies that mixes in a disorganized way, from which bursts of expressiveness emerge, reflecting different angles of the story.

If an expressive proposal resonates particularly well with the group, the rest of the actors can accompany it as a short-lived chorus until its imminent collapse into the chaos of the amoeba.

To perform a long form, the narrator is asked to choose an actor to be the protagonist who represents him.

When the scene begins, the protagonist weaves together the narrative events while the rest of the cast acts as supporting characters who assist the protagonist. They can take on different roles: another character, elements of their inner world, neutral figures who perform curtain calls for changes in space or time, etc.

It is a space for free improvisation where it is possible to use elements from other techniques such as fog or statues, which can serve as stage props. It is common for mature groups to end up developing their own stage props for long forms.

Collage

In this technique, the cast stands in two alternating rows, like a zipper, leaving a corridor in the center. The actors look down at their feet and let the stories from the session come to mind.

Each of them walks down the aisle several times to recall small fragments of the stories. Ideally, all the stories from the session should be mentioned at least once.

When the actors remain silent for a long time because they can’t think of anything else, they come out one last time to make a personal comment about the session.