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Actors
training
A condition for acting is "scenic
presence". Presence in the situation, your self and your
material. Presence so strong that it borders on chaos. One way
to increase the presence can be through the work with movement.
The bodily action is a help to release the control that is not
needed in the present, to liberate power, to give a powerful
freedom. Though explored and formed through an energetic physical
movement, the final expression does not have to be bodily expressive.
The teaching in this training is based on work with movement
and voice, aimied at increased physical expressivity as well
as an emotional/mental openness and awareness.
Three bodies
The body is our only tool for
communication. We perceive the world through our organs of perception
- through movement and voice are we creating signs. The body
is also a tool for analysis - in the body meets the external
and the internal, the past and the future.
This training is a work with three bodies: The physical body
- The emotional body - The mental body. Through work with
the physical body we touch the emotional/mental bodies and are
by that aiming to solve the tensions and blockage which stop
the actor's encounter with material and collaborators. The goal
is to create a flow between the three bodies - to find a reliance
on the intuitive expression.
Technique
The body is an instrument for
communication. To handle that instrument in a conscious way and
to be able to recreate inner conditions and expressions we need
tools. Systems, thoughts and ideas in relation to practical experiences
will form an individual "toolbox" for the creating
work. The tools presented here are based on interpretations of
Stanislavskij, Grotowski and Laban. It is of great importance
that the so-called "physical theatre" not is self-centered
and unintellectual.When the head is connected to the rest of
the body the instrument is complete.
The work
The working-space is a sheltered
room where we have the possibility to go beyond boundary lines,
recognize emotions and insights which we otherwise would withhold.
This kind of work is mainly practical and intense on several
levels. Therefore it is necessary that every participant becomes
conscious about the relation to and responsibility for the work.
The main principle is to let the desire of exploration and expression
inspire and guide the process.
If the length of the workshop permits,
every participant works with a prepared short dramatic text.
At first the participant uses the text as material in a method
to approaching the dramatic text: later on it is possible to
work individually on the text in a "master-class".
A workshop often touches on elements
such as:
- Consciousness of the body
- Movement-improvisation
- The body as an instrument for analysis
- Voice exercises
- Subjective space/subjective body
- Text and body
- Text-representation
- Plastics/isolations
- The inherent nature of objects - props
as an extension of the body
- Stretching/openings
By applying a role/text-analytic perspective
on the movement -work, there is a search for points in common
for the physical theatre and the traditional theatre.
Practical information
Different frames for a workshop
may be discussed. They are often 6 hours per day and with homogeneous
groups with 12- 22 participants. The work requires a spacious
room (minimum 6 sqm/attender) with a good floor and quiet atmosphere.
The workroom must be equipped with a good sound-system and CD.
The price is dependent on the extent of the workshop, the size
of the group, plus costs for travel and per diem.
If you are interested to house a workshop
please contact: svante@grogarn.com
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