Starting September 2007 ‚Authenticity and presentness in performance’ – is the goal and the framework for this course. Since the actor’s instrument is he himself and the self is embodied, the movement research will primarily focus on revealing the performative processes that we encounter when preparing and performing a part through bodywork + movement structures. This will aid whether it is for a mainstream play or a more experimental performance event. Through this process individual qualities can be recognized and developed; stilted play, often caused by the actor’s attachment to the word/text, which causes further blocks and suffocates any potential body-language. Instead we want to establish a natural rhythm of thought, feeling and word: acting moment-to-moment. The actor/performer develops a toolbox, which he/she will be able to use each time a new part has to be prepared. Text and voice work will be a part of the physical work. Words want to be needed, because only then will they fulfill their function of communicating meaning. This ‚need’ is created on a physical level: pitch, inflection, tone, etc. The performance and coaching of scenes, monologues and audition texts will alsoform an essential part of this course. ‚Don't be consistent – simply be true.’
The aim is to establish a group that will continue regular study/performance after these first initial four weeks are over. A monthly committment would then be desired in order to avoid disruption by the comings and goings of participants and to achieve an atmosphere which promotes good work.
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