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
But what do actresses and actors do to prepare for their work? If we ask the same question when thinking of those who dance, we imagine hours of physical exercises, or those who play music, scales and arpeggios immediately come to mind. In the common imagination, on the other hand, it is not very clear how actors and actresses prepare themselves, since only apparently do actors and actresses act on stage as they do in everyday life, and consequently they would not seem to need to train. The workshop will attempt to dispel this cliché by focusing on the training necessary for the acting task, traversing and exploring territories linked to practices and principles that transversally belong to different disciplines, and to different methods and traditions, performative and not.
The working days are imagined to be made up of various moments that will follow one another while blending together: a first part of bodily and vocal training aimed at generating the individual and group presence necessary for theatrical work; a second moment of scenic composition and creation starting from the themes and textual suggestions; a third part of work on the text in which all the preparatory work will come together. For each phase of this process, the working instrument will be our body, made up of joints, muscles and breath. The composition will therefore be a sum of bodies and voices, harmonic and/or dissonant, which will act as a choral basis for the emergence of individualities.
Through readings and analyses, we will attempt to always root the practices of the workshop in the context of theatre history studies.
Each day will propose a different path to the words of the text, mixing techniques and methods of composition, with the intention of testing different approaches to the word and the scenic creation.
Programme
The workshop is organised as a mixed pedagogical setting that alternates stage practice with historical reflection, aiming to provide some tools that lead to achieving the wholeness of actorial presence, made up of body and voice. Particular attention will be given to listening and group collaboration, which form the basis of every theatrical creation.But what do actresses and actors do to prepare for their work? If we ask the same question when thinking of those who dance, we imagine hours of physical exercises, or those who play music, scales and arpeggios immediately come to mind. In the common imagination, on the other hand, it is not very clear how actors and actresses prepare themselves, since only apparently do actors and actresses act on stage as they do in everyday life, and consequently they would not seem to need to train. The workshop will attempt to dispel this cliché by focusing on the training necessary for the acting task, traversing and exploring territories linked to practices and principles that transversally belong to different disciplines, and to different methods and traditions, performative and not.
The working days are imagined to be made up of various moments that will follow one another while blending together: a first part of bodily and vocal training aimed at generating the individual and group presence necessary for theatrical work; a second moment of scenic composition and creation starting from the themes and textual suggestions; a third part of work on the text in which all the preparatory work will come together. For each phase of this process, the working instrument will be our body, made up of joints, muscles and breath. The composition will therefore be a sum of bodies and voices, harmonic and/or dissonant, which will act as a choral basis for the emergence of individualities.
Through readings and analyses, we will attempt to always root the practices of the workshop in the context of theatre history studies.
Each day will propose a different path to the words of the text, mixing techniques and methods of composition, with the intention of testing different approaches to the word and the scenic creation.
Core Documentation
Italian translation of the play by William Shakespeare, Macbeth in the version and edited by Alessandro Serpieri and published by Giunti in 2004 (ISBN: 9788809033597) no longer in print but available in Italian libraries by consulting the OPAC SBN site (https://opac.sbn.it/). Alternatively, participants can read the later edition, also by Giunti, which can be purchased but without the introductory apparatus and notes (ISBN 9788809831391).Reference Bibliography
Further bibliographical references will be provided during the workshop.Type of delivery of the course
The workshop will be in presenceType of evaluation
Written report teacher profile teaching materials
But what do actresses and actors do to prepare for their work? If we ask the same question when thinking of those who dance, we imagine hours of physical exercises, or those who play music, scales and arpeggios immediately come to mind. In the common imagination, on the other hand, it is not very clear how actors and actresses prepare themselves, since only apparently do actors and actresses act on stage as they do in everyday life, and consequently they would not seem to need to train. The workshop will attempt to dispel this cliché by focusing on the training necessary for the acting task, traversing and exploring territories linked to practices and principles that transversally belong to different disciplines, and to different methods and traditions, performative and not.
The working days are imagined to be made up of various moments that will follow one another while blending together: a first part of bodily and vocal training aimed at generating the individual and group presence necessary for theatrical work; a second moment of scenic composition and creation starting from the themes and textual suggestions; a third part of work on the text in which all the preparatory work will come together. For each phase of this process, the working instrument will be our body, made up of joints, muscles and breath. The composition will therefore be a sum of bodies and voices, harmonic and/or dissonant, which will act as a choral basis for the emergence of individualities.
Through readings and analyses, we will attempt to always root the practices of the workshop in the context of theatre history studies.
Each day will propose a different path to the words of the text, mixing techniques and methods of composition, with the intention of testing different approaches to the word and the scenic creation.
Mutuazione: 20703412 LABORATORIO DI ARTI DELLO SPETTACOLO 3 in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 RIETTI FRANCESCA ROMANA
Programme
The workshop is organised as a mixed pedagogical setting that alternates stage practice with historical reflection, aiming to provide some tools that lead to achieving the wholeness of actorial presence, made up of body and voice. Particular attention will be given to listening and group collaboration, which form the basis of every theatrical creation.But what do actresses and actors do to prepare for their work? If we ask the same question when thinking of those who dance, we imagine hours of physical exercises, or those who play music, scales and arpeggios immediately come to mind. In the common imagination, on the other hand, it is not very clear how actors and actresses prepare themselves, since only apparently do actors and actresses act on stage as they do in everyday life, and consequently they would not seem to need to train. The workshop will attempt to dispel this cliché by focusing on the training necessary for the acting task, traversing and exploring territories linked to practices and principles that transversally belong to different disciplines, and to different methods and traditions, performative and not.
The working days are imagined to be made up of various moments that will follow one another while blending together: a first part of bodily and vocal training aimed at generating the individual and group presence necessary for theatrical work; a second moment of scenic composition and creation starting from the themes and textual suggestions; a third part of work on the text in which all the preparatory work will come together. For each phase of this process, the working instrument will be our body, made up of joints, muscles and breath. The composition will therefore be a sum of bodies and voices, harmonic and/or dissonant, which will act as a choral basis for the emergence of individualities.
Through readings and analyses, we will attempt to always root the practices of the workshop in the context of theatre history studies.
Each day will propose a different path to the words of the text, mixing techniques and methods of composition, with the intention of testing different approaches to the word and the scenic creation.
Core Documentation
Italian translation of the play by William Shakespeare, Macbeth in the version and edited by Alessandro Serpieri and published by Giunti in 2004 (ISBN: 9788809033597) no longer in print but available in Italian libraries by consulting the OPAC SBN site (https://opac.sbn.it/). Alternatively, participants can read the later edition, also by Giunti, which can be purchased but without the introductory apparatus and notes (ISBN 9788809831391).Reference Bibliography
Further bibliographical references will be provided during the workshop.Type of delivery of the course
The workshop will be in presenceType of evaluation
Written report