Ritual game
The Ritual game is a special form of physical theater . It was developed in the 1970s at the State University for Music and Theater in Hanover under Heinz Schlage.
content
In addition to the dominant forms of role theater in modern times and the somewhat older and more archaic forms of puppet theater, physical theater forms the third major stream in European theater history. It is most deeply connected with the oldest roots of the art of theater and most closely with the forms of theater of non-European cultures. Body theater is neither a special movement skill nor a special art form, it is more of a holistic process for the liberation of soul and spirit. Going back to the time of the Greek tragedy and even before it, it combines artistic, magical and sociotherapeutic aspects in such a way that it connects the players with the respective topic without intervening roles or masks. Ritual play is a special form of physical theater.
Emergence
The ritual play was developed in the 1970s as part of drama education at the State University for Music and Theater in Hanover and originally served to deepen artistic experience in the field of function-oriented theater work. The head of the project group and thus the "inventor" of the ritual game was Prof. Heinz Schlage, his most important collaborators were Jean Soubeyran , Peter Henze and Gandalf Lipinski. Peter Henze and Gandalf Lipinski first used it in their joint thesis at the drama department of the University of Hanover and subsequently in the first productions of the “theaterwerkstatt hannover”, meanwhile one of the oldest “independent theaters” in Germany. Gandalf Lipinski introduced it into theater pedagogy in the 1980s , and towards the end of the 20th century into theater therapy, which was just emerging in Germany .
application
As a concentrative group improvisation, it primarily serves the joint, holistic and in-depth exploration of a topic by a group of 8 to 15 players. It was first used in artistic theater work and later for a long time in theater education, currently mainly in work with amateur theater groups. Since it also illuminates the areas of the collective subconscious , in addition to its original use in art and education, in recent years it has also found its way into theater therapy, namely its system-oriented approach. It is used not only, but primarily in theater sociotherapy, where the therapeutic focus is not only on the individual and more on the group, the social system. In addition, it plays an increasing role in the development of ecotherapy and as a resource-oriented method in connection with health care and salutogenesis .
“In a culture of dissimulation and adaptation, which has already become second nature to us, but which has so far ensured our survival, ritual play represents a countermovement and can restore contact to our original nature. Among other things, the unadjusted and our darker sides are given space and permission to be celebrated playfully and safely until they can be redeemed. We become more permeable to our primary impulses, and that in a fear-free way, almost by itself. "
literature
- Heinz Schlage: ritual game. Media headquarters of the [ev.luth. Regional Church of Hanover], Archivstrasse 3.
- Gandalf Trötschel: The theater. In: Birgit Klosterkötter-Prisor (Ed.): Crossing boundaries - theater-theater-pedagogy-therapy. Remscheid 1994, ISBN 3-923128-28-2 .
- Gandalf Lipinski: Theater as a healing community art. In: Doris Müller-Weith et al. (Ed.): Theatertherapie. Junfermann, Paderborn 2002, ISBN 3-87387-513-6 .
- Gandalf Lipinski: Working on the Greater Self. In: Lilli Neumann et al. (Ed.): Learning to live through play. Berlin 2008, ISBN 978-3-937895-52-9 .
- Gandalf Lipinski: The delight in the world. In: Hagia Chora. Issue No. 20, ISSN 1619-1390 .