PLEASURE TO PLAY : FROM TECHNICALITY TO SENSIBILITY
Led by SOPHIE GAZEL (France)
From March 8 - 12, 2010 (23 h)
Fundamentals of acting rely on technicals and emotions. Emotions enable those technicals to serve life and human representation through the performance. This workshop helps the actors to understand how the technicality could organize the sensibility to serve the performance.
Check out the actor's fundamental expressive tools: Identify body parts and movement, fixed points, suspensions, breath, center of gravity, neutral state, spacial relationships and stage presence notion.
Permanences : Open mind, listening and complicity.
Rules of improvisation : What's a theater proposition ? What's a situation in theater ? Role and importance of the conflict. How circulates the “jeu” (play, game): What is playing in major and minor keys? Know to identify when the actor is sender and when he is receiver. Be conscious that the space plays as well : The look structure the space and every movement made on stage receive an answer from the space.
The script: When does the script start to play and is no longer only words? What are the tools to stop retreat into idea, meaning and psychological?
MOVEMENT THEATRICALITY
 Led by YVES MARC (France)
From March 15 - 26, 2010 (60 h).
Objective : Find and develop possible drama vocabularies and dimensions of the movement to lean on for the acting. We will put our attention to the observation of corporal manifestations of though states. “What do people's bodies when they think?” The parameters composing and involving those states will be analyzed and experimented : the look (focal and orientation), the breath, the dynamism, the posture (corporal contradictions), auto-contacts. From improvisation games and situation scenario, we will develop theatrical movements variations to the fiction and the creativity.
EXPRESSIVE MASKS
Led by ALFREDO IRIARTE  (Uruguay/Buenos Aires)
From March 29 to April 2, 2010
(35 h)
Attain the character from the figure. A mask approach by the reading of his lines, his tensions, the movements that he creates and his contradictions. How the mask becomes a type of geographical map proposing a walk, a gesture grammar and his own poesy that we can discover progressively during the work process.
It's about discovering the expressive mask dynamics in an individual and collective ways. This development give the opportunity to each participant to realize an expressive mask. Then, we will discover how the expressive mask serve the work of the actors in the construction of a character.
OBJECTS PARTNERS
 Led by JAVIER SWEDZKY (Argentine) From April 5 – 9, 2009 - (30 h)
The topic of this workshop is to work with objects as starting point of a theater situation. The uncovering of manipulation principles and the objects awareness are focused to develop your personal imaginary and the creation of your own research strategies. The question is to learn to give value and to become aware of the actor/manipulator presence, make yourself available to objects and learn to disappear behind them. The objective is to make objects become real partners, uniques and irreplaceable, with their own language and give them a new meaning, reveal their own poetic universe. We will create links between script, space, manipulator actions, interrelation and objects autonomy. Through this work we'll try to understand the different ways to divide the energy between the individual work and the manipulated object.
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From April 10 to 18 Holidays !!!
VOCAL AND MUSICAL TRAINING
 Led by HAIM ISAACS (Paris)
From April 19 – 30, 2010 (60h)
Vocal Placement: Breathing exercises, corporal resonances, enlarging the vocal range.
Corporal rhythm: Coordination between foots stamping, hands clapping and voice singing rhythmic patterns.
Songs: A wide repertoire (jazz, classic and world music), individual chant, Polyphonic chant, phrasing and rhythm, interpretation and theatricality.
Improvisations: Based on a song, based on rhythmic or harmonic structures, individual and group improvisations, accompanied by instrument or a Capella.
Explorations: Sounds that go beyond the realm of “pretty” towards texture and vocal landscape
BURLESQUE / characters ans situations
Led by JEAN-CLAUDE COTILLARD
From May 3 - 14, 2010 (60 H)
Should we all have access to the Burlesque “jeu” (game, play)? Yes, because the comic sense is a body function which could be liberated. This is not a question of humor, humor is a mental construction but question of the human being battling with pain. Because if we are going down deep into the pain, the only way out is the laugh.
We will experiment the comic tricks of the physical theater :
1/ The IMPROVISATION is the better way to work on the “Nature” of the actor, his comic potential, his imagination and creativity.
2/ STYLES: The acting styles, the dramaturgy, the rhythm and the timing
The part of tragedy in Burlesque and the part of Burlesque in Tragedy.
3 / How to make advance the spontaneity from improvisation to the final work?
« FROM THE MASK TO THE CHARACTER »
Led by ALFREDO IRIARTE (Uruguay/Buenos Aires)
From May 17 – 28, 2010 (70 h)
Thanks to half-masks of the “Comedia dell Arte” we will enter in the eternal metaphor of human comedy and will discover universal theater mechanisms.
Program :
- Leather mask : history and principles of construction
- Analysis starting from different forms of masks
- Construction of a leather mask and introduction to the way to perform with it (Each participant will make a leather mask from a pre-existing negative mould)
- Nature of the different mask characters study : Behaviors, postures, gestures...
- Preliminary exercises of Commedia dell Arte.
- Vocal training.
- Individual and group improvisations.
- Commedia dell Arte: references and anecdotes
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