Tact Festival 27th- 31st May 2014 Workshops list Each actor needs to express 2 preferences for 2 different workshops roughly before 20th May On the first festival day the festival staff will divide the participants in the 13 groups that for 5 days will be working together from 10 to 13 a.m. 01 - Art and media zone Efi Meravoglou To Be or not to Be Tragedy Our proposal is to introduce you to the tragedy of Ancient Greece. How did the theater start? Learn how to manufacture masks and what they wore? A selection of texts drawn from some Greek Tragedies. Day 1-27/5/14 Introduction to Tragedy. The beginning of all. (Presentation with visuals). Day 2-28/5/14 Tragedy writers and plays. Family s trees and relationships. (All the Gossip) We will distribute copies of parts of some tragedies. (English and Greek language). Day 3-29/5/14 Manufacture of Tragedy s masks. We will request some good imagination and basic manual skills and we will provide all the materials. Presentation with visuals about Costumes. Day 4-30/5/14 How to act in Tragedy (English & Greek language) - It s not just screaming. Day 5-31 /5/14 Let s see what we have learnt. All the participants will present parts of Tragedy.
02 - CUT Trieste Aldo Vivoda e Valentina Milan THE SERIUOS GAME OF THEATRE This workshop is nourished by the richness of diversity and by a kind of theatre that wants to be felt more than to be understood. During the first part of the workshop - carried out by Valentina Milan - we will try to uncover the neutral body of the actor through some elementary acrobatics, stretching and coordination exercises. In the second part - with Aldo Vivoda - we will focus more on the real theatrical work, paying particular attention to the improvisation technique. We mean by improvisation not only a temporary or a fallback solution, but an instrument allowing us to take onto the stage some of the spontaneity of real life. These two moments, only apparently separated, will unite to achieve the same result: a precise theatrical form on stage through a body which is not only able to execute but more important to feel. 03 - Glej Theatre Ljubljana Marko Bratuš Political Satire Marko Bratuš is the artistic director of Glej theatre, dramaturge, screenwriter and director. His specialties are devised performances and author adaptations - especially in the field of political satire. In his workshop he will present his approach to making humorous political theatre, present the principles behind it and devise a concept for a hypothetical new comedy performance by the participants of the workshop. The workshop will consist of a short explanation of basic principles, approaches to structuring and the use of creative teamwork in comedy. After the first session the workshop will continue with practical individual/group work on developing a new performance based on political satire and/or current events with the use of media and web sources. The workshop is for all those who like satirical comedy and would like to try a new approach to creating new author works from scratch. 04 - STN- STUDIONOVECENTO Marco Maria Pernich The actor on stage- from Michail Cechov to the Noh Japanese theater The workshop will be about the language imaginary centers. Each character has a center from which they develop their movements. It becomes the main feature of the character. In Italian there are idioms that can help us as a guide. A search for a direct and concrete way to create a character.
05 - Carthago Teatro Mehdi Kraiem The clown and I: when the expression makes the essence I propose a workshop about the awareness of body movement in a three- dimensional space, and how this affects acting and conveying emotions and moods to the viewer.the focus of the workshop will be on single and group improvisations aimed to improve the actor s awareness about the effectiveness of his body posture and motion in different situations. 06 - MACHULSKI S ACTING SCHOOL ANNA DZIEDZIC LET S IMAGIN LALEK The workshop LET S IMAGIN LALEK develops especially the actor s imagination and body. Lalek it is not a name, but rather a nickname. The meaning is like a doll Barbie, but not the same. Lalek is a young, beautiful boy, with blond hair. He is very nice, sensitive, a little naïve; he loves his girl, his mother and the people around him. This workshop consists of four parts: 1/ From still picture to improvisation (based on famous works e.g. by Italian, Polish, Dutch or English painters, especially on grotesque and comic pictures). 2/ Realistic and surrealistic improvisations. 3/ Social drama, improvisation with social (moral, family) problems, forum theatre. 4/Theatrical scenes based on small fragments of the Polish poetic play LALEK by Zbigniew Herbert (translated into English). The first part, starting from games and exercises, will develop the body, its expressiveness, awareness, poetry and metaphor, it will pay attention to shape and movement in the space, to doing and physical acting. Funny improvisations are created in many languages. The main skills developed in the second part are: imagination and collective theatrical creativity. The third part will deepen improvisation skills and, through improvisation, psychological acting skills (concentration, spontaneity, inner truth, active listening to partners, pushing, pulling etc.), it will also teach forum theatre techniques. The fourth part ( Lalek ) will gather exercises, skills and techniques from the previous parts. It will be the kind of the outcome of the whole work. There will be: a social problem; an inspiration by pictures; both realistic and poetic, surrealistic style There will be vocal, voice exercises. Let s imagine...
07 - Théâtre du Balèti Maxime Franzetti Body in movement The actor's training. The training prepares the actor to channel his energy, to create forms and repeat them tirelessly... Based on the Masters' knowledge, the oriental theater, Pina Bausch, Grotowski, Meyehold and also Pippo Delbono, the training helps the actor to center the body, to start the movement from there, and find relation to space ; to feel gravity and lightness, between ground and zenith. The actor will understand his inner vertical and organic forces. The one and only goal: build the actor's awareness of mind and body. The training is composed of various exercises, in order to prepare and release the actor from social habits and mannerisms, and master the body. To walk, run, jump, stop, feel, fall and go back, to carry, hold, take, push away and imitate what has been observed. To meet the other. To dance. To be present, here and now. 08 - Txaika Teatro Algis Arlauskas Pinedo Vakhtangov Method > Eugene Vakhtangov and hiscontribution to the Stanislavsky System. School of Vakhtangov and legacy. Theoretical Introduction (20 min). > - Physical training and rhythm (20 min) > - Observation as a fundamental part of the Vakhtangov method (20 min) > - Improvisations for the construction of the character. His past and present. Actional score. System surprises. (1.5 hr) > - Theoretical conclusion (30 min) 09 - Txaika Teatro Marina Shimaskaya "Mikhail Chekhov techniques for building character". 1. Physical warm- up, Working with atmosphere. Atmosphere as action. 2. Concentration exercises. Inner circle. Medium Circle. Far Circle. 3. Psychological Gesture. 4. Center Energy. 5. Character construction. Classic examples. Hamlet and his center energy outside the body. 6. Impulse chest. 7. Testing techniques Chekhov with characters created by students.
10 - Teatro Universitario Aenigma Francesco Gilgiotti The Commedia dell Arte between tradition and modernity The encounter of the actor with the masks of the Commedia dell'arte is directly followed by the artificial physical creation. Agenda: from the type to the mask. 1) Exercises about the different types of the human commedy (old, powerful, liars, lovers) in order to identify the essential characters of the different types. 2) Use of the mask and basic technique, training in acquiring the energetic code of the character. 11 - Theatre 007 Igor Ivkovic From game to play. BODY- SIGN- MEANING. This workshop will be based on researching opportunities offered by the actor's body as a sign of the show. The actor body such as position, structure, and its own internal dynamics, as a sign and medium for transferring a message. In this workshop we will use the method based on several games. Particularly we will use the game as a method of education and of making a short performance. All the games which we played as children can be a basic structure of creating a performance. The participants in the workshop will encourage their creativity of improvisation, working on a given topic, plasticity of body imaging etc. The final product of the workshop will be, creating a mini theatrical spectacle. The participants of this workshop will work on already famous scenes from theatre classical dramaturgy. Using the methods of improvisation, playing with the body as a sign and minimum elements, participants will gain practical knowledge of theatrical sign system. 12- Theatre- studio Theaomai Silva Krivickienė Another Hamlet Participants should prepare the dialogue between Hamlet and Gertrude. Part I. Physical training for body and voice based on the Grotowski system. Part II Analysis of scenes from Hamlet by William Shakespeare through action on stage. Multilingual communication on stage using Hamlet s and Gertrude s scene. Every actor will speak in their native language, so we will teach you how to express yourself and feel the partner without understanding the language. Part III. Presentation of the scenes.
13 - CREARC Fernand Garnier Ecriture Dramaturgique / Playwriting The aim of the workshop is to build a theater synopsis "from the inside". Beginning from improvisation we will invent a story which will be the foundation of the synopsis. We will work on the characterization of each character and on their personal story. Who is the main character, who is its opposite? What's their story before the action begins? What's their target? We will work on a story and its message. The story will be the foundation to the drama structure. An analysis of text, images, set design...