( in german / english)
5.07. - 18.07. 2004
course fee: 220,-/200,- €
|In a sequence of practical seminars participants will learn the basics of Biomechanics and Epic acting. Both, Brecht and Meyerhold, had theatrical roots in European as well as Asian Popular theatre. This is used as the basis of the workshop which then is going to develop the connection from that source to our contemporary theatre. This means: filling the empty space that exists because these two never met.
• An integrated bodytraining to learn the basics and the hinges of each biomechanical movement (OTKAS, POSYL, STOIKA, TORMOS, GRUPPIROWKA, RAKURS).
• Connected to that the creation of the biomechanical etude: THROW WITH A STONE.
• In the end this principles will be linked with the scenes of the Program Epic acting according to Brecht
PROGRAM EPIC ACTING ACCORDING TO BRECHT:
• Exercises of observation connected to an Epic kind of acting. Introduction of the STREETSCENE as a model and a methodical magnitude.
• Creation of scenes according to the method of Brecht (memorising of first impressions, contradictions, not but also).
• The model STREETSCENE is going to apply to the created scenes.
• Exercises which are creating the alienation effect / Different kinds of alienation / Using of biomechanical elements to alienate
• Using of biomechanical elements to create a special kind of Realism (OTKAS and NOT BUT ALSO)
|basics of contemporary commedia dell' arte
23. 06. - 4. 07. 2004
course fee: 200,- / 180.- €
|Is there a technique for the Commedia dell'Arte? It is well known that the tradition was interrupted more than two centuries ago and many secrets died with the practioners of this special art.
Our task is to use the Commedia dell'Arte as an expressive tool, whilst avoiding the myths built up around it, the easy traps created by folklore and dangerous and useless clichés.
The Zanni, Pantalone, Dottore, Capitano, Arlecchino and the Innamorati will be approached like living characters, vehicles of emotion, and contemporary archetypes.
Working on masks, studying the “lazzi” and the improvisation on “Canovacci” of Commedia, and approaching the Physical Actions Method, the Mime Abstract Corporelle of Decroux, and a special body-voice training, the students will, during the workshop, research and discover an extraordinary quality of being an actor on stage.
|the moving voice
13.07 - 17.07. 2004
course fee: 180,-/160.-
a journey through range and expression of your voice
The workshop is about connecting to the full range of the sound, resonance and expression of your voice, finding vocal flexibility and using it to increase your artistic vocal vocabulary.
This will be achieved through investigating the relationship between body and voice, by applying exercises to explore how one supports the other.
The workshop is for actors and singers who want to connect to their full vocal potential as well as anyone who wants to develop confidence in their voice.
The workshop will include work on posture, awareness and release of habitual tension patterns as well as breath support, vocal range and strength. A basic explanation and description of the vocal instrument will be provided. On this firm basis the work will explore how to extend your pitch and vocal resonance as well as how to uncover different qualities of vocal sound. This will be taken further into applying the different characteristics developed throughout the workshop to text or song.
The workshop incorporates techniques and exercises of such voice practitioners as Kristin Linklater, Patsy Rodenburg, Paul Newham (founder of Voice Movement Therapy) and Jo Estill (founder of Voicecraft).
Please bring warm and comfortable clothing and a piece of text you would like to work on (poem or song).