Skills
- THEATRE
- PHYSICAL THEATRE
- MOVEMENT
PHYSICAL on STAGE
A Physical Theatre Workshop by Carlos Rodero
December 8, 9, 10
Friday, from 17,00 to 21,00 PERON Studio
Saturday, from 15,00 to 19,00 DUNA Studio
Sunday, from 11,00 to 15,00 SIN Studio
15.000 HUF [students] 20.000 HUF
SÍN CULTURE CENTER
Budapest, Gyutacs u. 10, 1139
studio@sinarts.org
«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.
WORKSHOP [intensive] in ENGLISH
AIM
The aim of the Workshop is to try alternative approaches to the dramatic text from the body and movement and to research how it could be used in a physical theatre performing frame.
ABOUT PHYSICAL TEXT
«…make words part of our whole physical self in order to release them from the tyranny of the mind…»
Cicely Berry
«Too much analysis, like too much choke, can make you stall.»
Steven Berkoff
Using instinct rather than reason lies at the heart of a physical approach to text. Performers need a physical and imaginative vocabulary that could be shared with their partners. The process is organic. The way the physical life of the actor is the imaginative conduit of meaning, narrative, and character, so what is said is simply one layer in the multiple layer of meanings. So they encourage a complex seeing. Then the actors do more than illustrate the text. A written text offers its own frame, situation, character. The work that the performer does with his body and imagination may lead him into the text world, offering unexpected views. The Physical wok provokes a visual movement as well, that will become an extra inspirational feedback. Character, for example is something arrived at and conveyed through predominantly physical rather than intellectual or psychological means. There is no foolproof method of physicalising text. A physical approach has as much to do with searching for the underbelly of a play. Energy is crucial. To think of the text as a physical entity, brimming with energy, with patters and colours embedded in it, means starting from a position of not-knowing, so that meanings emerge rather that being imposed.
PARTICIPANTS
This workshop is aimed at actors & actresses and any performer who is interested in how to use their body on stage, in a text-based frame. Whether it is the world of classical or modern text theatre, any interpreter with his specific training can become aware of a new approach when preparing his scenic work 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 in relation with dramatic text.
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
MATERIALS
Choose on of these songs. Your criteria may be not only about your musical taste, but the meaning and content of the song.
Chose one of these texts. From Bernhard file, you may choose one of the five items.
Adcoates by Franz KAFKA The Voice Imitator by Thomas BERHARDYou can DOWNLOAD these materials HERE.
SUBSCRIBE
