PHYSICAL on STAGE
A Physical Theatre Workshop by Carlos Rodero
November 2, 3, 4
November 2 from 15:00 in 19:00 in Noces Studio
November 3 from 17:00 in 21:00 in Noces Studio
November 4 from 09:00 in 13:00 in Noces Studio
120 euros [students] 140 euros
MICADANSES
15 rue Geoffroy l’Asnier, 75004 París
«The body is not any more an obstacle that isolate mind from itself.»
Gilles Deleuze, Cinema 2: The Time-Image, 1989
PHYSICAL on STAGE is an introduction to the use of Physical Theatre techniques focused on performers —both dancers and actors— who aspire to transgress the definition of the conventional performance and get into the field of experimentation. It aims to establish the basis for a physical language training understood as the main driving force for the dramaturgy of a postdramatic staging. It intends to make the performer aware of his role in the creative process of an inclusive performance. To do this, we offer a guide that can help the performer to explore and develop his initiative and creativity and try to motivate him to deepen into his knowledge & skills.
Cet atelier introduira les techniques de théâtre physique appliquées aux danseurs et chorégraphes contemporains dans le but d’explorer et d’augmenter leur initiative et leur créativité. Il donne les utils qui peuvent être utilisés dans le cadre d’une production alternative. Cette formation théâtrale est basée sur des exercices qui génèrent des réponses créatives des danseurs à des problèmes scéniques concrets et explore leurs compétences et leurs limites. Les résultats de ces exercices pourraient être soumis à un traitement plus approfondi. C’est un travail qui suscite et stimule les besoins des artistes et ses propres possibilités ainsi que explore les frontières entre la danse et le théâtre.
WORKSHOP [intensive] in ENGLISH
PARTICIPANTS
This workshop is aimed at dancers & choreographers and any performer who is interested in how to use their body on stage, when facing any kind of performance. Whether it is the world of classical or modern dance, the contemporary, any interpreter with his specific training can become aware of a new approach when preparing his work scenic and, above all, when organising their training. During the working sessions we will made all kinds of exercises that will help them to treat different aspects of physical work.
WORKING SESSIONS
Three four-hour working sessions in which there will be raising diverse subjects in a practical and playful form. At the end of each session we will dedicate some time to comment and evaluate the experience in order to be able to draw some pedagogical conclusions.
TIMING & CONTENTS
Preparing the Body. The ideal training should be a process of self-discovery as well as define skills and limitations. After a physical and emotional warm-up, exercises are developed to explore consciousness and articulation, rhythm and body neutrality, energy control, body-space relationship, interrelationships and complicity among participants, presence, basic improvisations, management of emotion, emission of body sound.
Imagework. Psycho-physical training based on images, technique for the development and control of the imagination understood as the basic axis of the performer’s work.
Physical on Text. An exercise about how the text can be involved in the Body Work.
[Un]masking. Work with neutral mask to promote control and body tracking skills.
Mute Monologue. Main exercise of the workshop. Based on some basic dramaturgical proposal, we build a situation and a protocharacter, in order to deconstruct it and analyse different levels ob abstraction exploring the limits of narratology. It pushes as well the dynamics of telling with the body.
Improvisation. Based on what has been explored each participant will elaborate an improvisation which will be analyses by the group.
MATERIALS
Please, check this pack of materials and get used to them. They will be used during the workshop.
Images
Text
«Let’s consider your age to begin with — how old are you?’
‘I’m seven and a half exactly.’
‘You needn’t say “exactually,”’ the Queen remarked: ‘I can believe it without that. Now I’ll give you something to believe. I’m just one hundred and one, five months and a day.’
‘I can’t believe that!’ said Alice.
‘Can’t you?’ the Queen said in a pitying tone. ‘Try again: draw a long breath, and shut your eyes.’
Alice laughed. ‘There’s no use trying,’ she said: ‘one can’t believe impossible things.’
‘I daresay you haven’t had much practice,’ said the Queen. ‘When I was your age, I always did it for half-an-hour a day. Why, sometimes I’ve believed as many as six impossible things before breakfast.»
Alice in Wonderland, Lewis Carroll
Music
