A dialog between the body alphabet and the Suzuki Method, two different but complementary approaches to improve the acting art. The workshop aims to combine the Suzuki traditional method with the Body alphabet of the polish theatre. It aims to take
awareness of the body and to discover new ways of expression. The work will be based on fiscal and vocal exercises.
After focusing on physical preparation and improvisation, we will be working on the magical world of masks. The actor will be let free to play and to experiment with new theatrical forms of poetry. The mask forces the actor to research into their truth entering into a body and a voice imbued with emotions.
partecipanti a risvegliare il proprio corpo attraverso un approccio fisico al teatro. Verranno create delle improvvisazioni senza suoni o verranno utilizzati degli oggetti sullo scritto di Bertolt Brecht “Se gli squali fossero uomini”. I partecipanti devono indossare vestiti comodi.
This workshop is a game of images, of movement, and listening that aims to take the actors to awake their body through a physical approach to theatre. Improvisations without sounds will be made, otherwise will be used objects of Bertolt Brecht
A whole week to experiment the instinctive and basic art of the Commedia dell’arte, base of the work of the theatre actor at all latitudes: a work on decomposition and recomposition of the body. A training to reach a common breath and an improvisation that allows to create a theatrical character.
Preparation and study of some dialogues between Hamlet and Gertrude, with a vocal andphysical preparation inspired from Grotowski.
La quarta parte (“Lalek”) raccoglie le esperienze acquisite nelle tre parti antecedenti. Sarà l’espressione finale di tutto il lavoro svolto.
The workshop aims to develop the actor’s body imagination. This workshop consists of four parts: 1) From a painting to an improvisation. 2) Realistic and surrealistic improvisation. 3) Theatrical scenes taken from the polish poem “Lalek” by Zbigniew
Herbert (translated in English). And the forth part (“Lalek”) collects the experiences of the first three parts. It will be the final expression of the work done.
Each character has a specific center from which it emanates its movement. In Italian we have concrete expressions that can help as guidelines (“andarci coi piedi di piombo”,“stare sulle spine”, “ficcare il naso dappertutto”…). A work that leads to a concrete search of the character.
The workshop aims to guide the actor while building a character, using different techniques. Each day there will be a physical warming up, in order to get the necessary flexibility to search for different elements that are needed to build the character: voice,body, movement, rhythm, clothing, space and time and situation.
Warming up, concentration exercises, the psychological gesture, the energy centres and the building of the character. All of this beginning from the theatre and techniques of Cechov. During the workshop the actors will experience methods used in the Russian school that takes inspiration from Stanislavsky, M. Cechov, Vachtangov e Mejerchol’d.
Barthes. Si leggeranno diversi frammenti e ogni partecipante sceglierà quello che più lo colpisce. Tradurremo lo scritto in situazioni concrete sulla scena, attraverso diverse situazioni emotive che fanno parte del cuore del testo, ottenendo così un nuovo testo, una nuova scena, che porterà con sé l’emozione del frammento letto.
The baseline text for the workshop will be Roland Barthes’ “A Lover’s Discourse – Fragments”. We will read different fragments and each participant will choose one that touches her/him personally. We will begin to translate the text, which is basically a philosophical discourse, into concrete situations on stage through emotional conditions that are part of the text’s core. Through work we will get a new text, a new scene, which will bear the emotion of the read fragment.
During the stage we will start with an overview of the Estill VoiceCraft E.V.T. Method: a voice training that focuses on the knowledge of the physiology in order to get to an aware control of the muscular system. Developing, this way, full control and awareness of the vocal qualities.
Writing a theatrical drama starting from the group improvisation. The creation of a story and it’s characters through the analysis of images and texts.
I 12 workshop del Tact festival si terranno dal 8 al 13 Giugno a Trieste ogni giorno dalle 10 alle 13, presso: Ricreatorio Toti, Università degli studi di Trieste, Magazzino delle Idee, Azienda sanitaria San Giovanni, Chiesa Valdese e Ardiss Trieste.
Per parteciparvi basta iscriversi al C.U.T.
scrivete a firstname.lastname@example.org per maggiori info.