The workshop aims to increase the participants' awareness of bodily movement, by inviting them to experience the perception and performance potential of their body. Through physical training, vocal exercises and space work, participants will be able to acquire an approach to movement that uses physical action and imagination, making each movement aware of both its source and its stage effectiveness.
Curriculum
teacher profile teaching materials
Second guideline of the workshop will be improvisation as in the meaning given by Stanislavsky, relating to the construction of a character.
Finally, the work will be completed along the third guideline of research on the score, intended as a construction of individual and/or group materials based on the play Blood Wedding. The score will also serve as process for approaching the concept of physical and vocal stage dialogue, the principle of action-reaction and a certain quality of listening, psychophysical as well.
Through readings and analyses, we will attempt to always root the practices of the workshop in the context of theatre history studies.
The transmission and learning of any technique means learning a way to stand in life. A path. A way to breathe and to resist. A way to measure oneself against one's limits and a way to look for ways to overcome them.
Programme
The workshop is organized as a mixed pedagogical setting that alternates stage practice with historical reflection, aiming to provide some of the tools and principles that lead to developing a certain quality of stage presence. Presence of the feet, of the voice and of the body intended as body-mind. The chosen theoretical analysis and practice follow paths that converge in the same terrain where are rooted the principles of Theatre Anthropology as identified by Eugenio Barba during the sessions of the International School of Theatre Anthropology (ISTA). Our research will focus on pursuing the discovery of the three levels of dramaturgy: organic, narrative, and evocative. The workshop will be shaped firstly along the guidelines of the training, specifically psychophysical training – the work on oneself based on exercises from eastern and western stage crafts. Within this, focus will be given to the work on rhythm and rhythmic actions, that is actions generated in reaction to an external impulse, e.g. music; other key points will be the work on intentions, on body communication, and on the differences between choral voice and individual voice).Second guideline of the workshop will be improvisation as in the meaning given by Stanislavsky, relating to the construction of a character.
Finally, the work will be completed along the third guideline of research on the score, intended as a construction of individual and/or group materials based on the play Blood Wedding. The score will also serve as process for approaching the concept of physical and vocal stage dialogue, the principle of action-reaction and a certain quality of listening, psychophysical as well.
Through readings and analyses, we will attempt to always root the practices of the workshop in the context of theatre history studies.
The transmission and learning of any technique means learning a way to stand in life. A path. A way to breathe and to resist. A way to measure oneself against one's limits and a way to look for ways to overcome them.
Core Documentation
Federico García Lorca Bodas de sangre (Blood Wedding): Nozze di sangue (Einaudi editore, translation by Vittorio Bodini, ISBN 9788806069650)Type of delivery of the course
The workshop will be in presence.Attendance
attendance is compulsory. Out of a total number of 36 hours, only 6 hours of absence are permittedType of evaluation
written report