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.
teacher profile teaching materials
According to Italo Calvino ‘... no book that talks about a book says more than the book in question’ (Italo Calvino, Perché leggere i classici, Mondadori, ISBN 9788804772866) and therefore the practical-theoretical question at the heart of the workshop will be: what is the value of a classical text for us today? We will try to answer this question together from our specific point of view: biographical, political, socio-economic, geographical. This question will be our motivation and the DNA of this meeting.
During the workshop we will try, through a path of readings and insights, to root the practices always in the field of theatre history studies. The transmission and learning of any technique have to do with a way of standing in life. A way. A way of breathing and a way of resisting. One to measure oneself against one's limits and one to seek how to overcome them.
For her lessons, Francesca Romana Rietti, theatre historian, will collaborate with Ana Woolf, Argentine actress, pedagogue and director, member of the ISTA team (https://ista-online.org/ - https://anawoolf.wixsite.com/anawoolf).
Programme
Organised as a mixed pedagogical situation alternating stage practice and historical reflection, the workshop aims to provide some of the tools and principles that lead to achieving a particular quality of stage presence. Presence of a body that is body-voice, body-mind/heart. Following paths of theoretical analysis and a praxis that converge on the ground in which the principles of Theatre Anthropology identified by Eugenio Barba during the ISTA (International School of Theatre Anthropology) sessions are rooted, we will dwell on research that leads to the discovery of the three levels of dramaturgy: organic, narrative, and evocative. We will follow the line of training, psychophysical training (work on oneself based on exercises from eastern and western scenic techniques and where rhythm and rhythmic actions will be of particular importance, i.e., those generated in reaction to an external impulse, e.g., music; or intentions, bodily communication, the differences between choral and individual voice). The second line will turn its attention to the work of constructing the character (we will briefly go through Stanislavsky's vision). This will flow into the third line based on the text and aimed at the construction of individual and/or group materials. Finally, we will explore the moment when the three different dramaturgies come together in the dimension of stage dialogue.According to Italo Calvino ‘... no book that talks about a book says more than the book in question’ (Italo Calvino, Perché leggere i classici, Mondadori, ISBN 9788804772866) and therefore the practical-theoretical question at the heart of the workshop will be: what is the value of a classical text for us today? We will try to answer this question together from our specific point of view: biographical, political, socio-economic, geographical. This question will be our motivation and the DNA of this meeting.
During the workshop we will try, through a path of readings and insights, to root the practices always in the field of theatre history studies. The transmission and learning of any technique have to do with a way of standing in life. A way. A way of breathing and a way of resisting. One to measure oneself against one's limits and one to seek how to overcome them.
For her lessons, Francesca Romana Rietti, theatre historian, will collaborate with Ana Woolf, Argentine actress, pedagogue and director, member of the ISTA team (https://ista-online.org/ - https://anawoolf.wixsite.com/anawoolf).
Core Documentation
Sofocle, Antigone (Einaudi editore, translation by Massimo Cacciari, ISBN 9788806188764)Attendance
Attendance is compulsory. Out of a total number of 36 hours, only 6 hours of absence are permittedType of evaluation
Signature of attendance at lecture venues (absence limit is 6 hours); written report of minimum 6,000 and maximum 10,000 characters (including spaces)