This workshop is a dynamic introduction to the fundamentals of our work. Its aim is to bring together professionals of various backgrounds who wish to explore new possibilities, exchange experience from their art and take their skills to the next level.
A. Fire making
The training plan comprises intense and challenging physical exercises which aim to awake and activate the whole body. The warm-up is designed to connect us with the surrounding space and draw our focus on the stimuli that springs from it as well as our stage partners. Through the exercises we develop clarity and precision of movement along with self-awareness
B. Shaping the character: What’s inside the toolcase?
Our starting point is not the Neutral, but the Peculiar. We explore how to create grotesque, diverse, hilarious, and intimidating characters with unique ways of moving and interacting with other characters. Starting from the unveiling and embracing of our own weirdness, we work on shaping various types of characters by using a set of tools which expand our expressive skills to the fullest.
C. Breathing life into our characters
Being here, being ready, being aware may sound vague and elusive and we like being practical about things. We know the importance of rhythm in storytelling and this is what we explore to make our characters alive.
We explore the moving body and the body on pause. We work with exercises and improvisations on contrasting dynamics of movement that enrich our physical vocabulary. We explore the gradual as well as the non-gradual transition from one movement quality to another. We seek for the effect of this transition on our emotions, thoughts and breathing.
D. Creating the code
Do we all understand tragic, comic or melodrama the same way? What happens in our body when we feel sad, happy, anxious, angry or desperate? Is there a universal vocabulary of physical reactions that can be understood equally by everyone? How do we construct visual and physical codes? In this part of the process we break down the rules of representation based on various artistic genres and traditions.
E. Silent Improvisations- Acting without speech
Breath, rhythm, focus and waiting are structural components of our silent improvisation. By doing silent improvisations we explore how a thought, feeling, need or the triggering of a sense can be expressed physically. We become spectators that can ‘’read’’ clearly what happens to the characters, what they feel, what drives them and how. Silent improvisations are the only way to sharpen up the form of our characters and to achieve precision which will give us immense freedom on stage. Above all, silent improvisation is the moment we wait for to have fun!
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