Back to the buffoon, back among the people.
In the activities developed by M&D, each of the cultures associated in partnership, will have the opportunity to share the identity nature of its popular theatre with the Europeans artists and creative staffs orbiting around the network in each of the involved countries. This will be even more effective and widespread in the professional training program, which will spread around in each country, addressed to professionals who want to undertake a European-sized course of study of techniques and languages in the ambit of the popular theatre, the physical theatre, the conscious us of voice (the “symphonic actor”) and the comic theatre (through the fool and the jester).
In Spain, in Germany and in Poland, the cooperating organizations will host workshops every year addressed at least 30 professionals for each of the nine appointments. The workshop will be conducted by trainers from all partner countries.
With this action we intend to blaze a new path for the European actor training, driving him not to recall languages and techniques that belong to the past, but rather to recall the size of the "contact" with the Audience, which has always been the cornerstone of those languages.
Under this point of view, the experience of the street is certainly meaningful, as there is no street theatre without contact with the spectator. That's the reason for the contamination and the mixing between one and the other universe (stage and square) in this project.
♦ Grammelot beyond the borders by Andrea Brugnera
♦ Contradictions by Matej Matejka
♦ The Walking Theatre by Hillas Smith and Huge Brown
♦ The Poetic Body by Christian Atanasiu
♦ The Buffoon Mask program: The Ecstasy of Mocking by Maria Codinachs
>>> SOLD OUT <<<
The seminar will be aimed to teaching and to exercising of grammelot, a kind of speech-language invented by ancient comedians, able to convey the narrative, with the support of gestures, particular rhythms and sounds, without the usual verbal language.
In this key it is possible to improvise – or better, to articulate – grammelot of all kinds related to the most different lexical structures. The actor is so able to speak English, Italian, German, Spanish and Polish grammelots. Of course to do that you must acquire the basic technique, and be prepared to dedicate study and practice to it.
Trainer: Andrea Brugnera started the theatrical experience by attending the seminar in Venice (1975-77) for the actor's training in Commedia dell’Arte, directed by Giovanni Poli at the “A L'Avogaria Theatre”. From 1978 to 2009 he participated in artistic activities in Great Britain, Germany, France, Spain, Switzerland, Sweden, Malta, the United States, Japan and Mexico.
With the expression "poor theatre" Grotowski meant a theatre in which the fundamental concern was the actor's relationship with the public, not the staging, neither costumes, nor lighting or special effects. Important to Grotowski was what he could be with the actor’s body and voice with no supports and solely through the visceral experience with the audience.
Grotowski (an atheist) joint this concept of “poor theatre” to the concept of "priesthood “or actor's sacredness. When the actor entered the sanctity of the stage at that moment something special happened, something very similar to the Mass in the Catholic Church. It was in this space, in the sacred relationship between the actor and the audience that the spectator was challenged to think and to be transformed by the theatre.
In this workshop, led by a follower of Grotowskian theatrical revolution, participants will experience the regime of "training" settled by the great Polish director:
1. Eliminate, do not teach anything (Negative path).
2. Intensify what already exists.
3. Create all that you need for the play in the actor's body, with minimal use of scene stuffs.
4. Promote rigorous physical and vocal training of actors.
5. Avoid the magnificent if it does not conducive to the truth.
He is founder and leader of Studio Matejka. Studied acting at the State Conservatory in Bratislava, Slovakia, later music acting at JAMU University in Brno (Czech Republic). In 2001–2006 actor of theatre studio Farm in the Cave, Prague and co-creator of the projects and performances Dark Love Sonnets, Journey to the Station and SCLAVI / The Song of an Emigrant. Since 2005 he collaborates with the Grotowski Institute where he is engaged in research of physical expression in theatre. He is also an actor of Teatr ZAR: performs in three parts of Gospels of Childhood. The Triptych. Leads his own work sessions Wakening the Listening Body at the Grotowski Institute, as well as with Teatr ZAR, both in Poland and internationally. He collaborates with other artists, among others with Vivien Wood and Jaro Viniarsky. In his work he searches for the performer’s essence of communication where both dance and drama are only vehicles for the actor's expression.
An exploration of character driven performance, designed for processional performance. This workshop will delve into the individual characters of the participants themselves, and connect this to the over-arching theme of the performance piece itself.
Through a combination of physical theatre, clown, rudimentary acrobatics, song and dance, we will tap into each individual's own life story, and their connections to the others in the workshop to create a cohesive unit of individual archetypes.
>>> SOLD OUT <<<
This course wants to offer a look at the use of body gesture on the stage. Body drawing, gestural theater and mime techniques, composition of typologies or body characters and the old Jugglesque technique of contrasts will be thematic of this job. Body drawing, apart from defining or creating characters, it also allows us to make visible what is not seen, as per eg emotions, passions or hidden desires of a person, or create atmospheres and visualize rather abstract concepts.
We will use the old concept of the tragedy choir Greek, but instead of singing we will use the expressivity of the body in a coral dimension. This work is intended as a complement for both that are dedicated to the theatre, such as narration, dance or circus.
Trainer: Christian Atanasiu founded in 1990 with Xavier Martí the Company Martí-Atanasiu, which with he travel around the Europe acting the comic-mimic shows BOXTROT and INUIT, participating in the most prestigious festivals of humor. In 1999, INUIT was awarded the Innovation prize at the International Moers Festival (Germany). He is currently touring festivals in Spain and Latin America with the show “JugLar con las palabras”. For fifteen years he combines his scenic work as a pedagogical activity at the Institut de Teatre de Barcelona, where he teaches clown, juggling and directs creation workshops in Commedia dell'Arte. In this framework, he participated in the International Meeting of Dramatic Arts Schools in Beijing in 2015, presenting a creative work with the students. He has directed several theatre and circus productions.
Adam Bismor +48 792773760
Where do bouffons come from? What is their dramatic potential?
Bouffons mock the very essence of society. They ruthlessly ridicule our fragile humanity, deliriously revealing the truth.
Their purpose is to have fun mocking humans and to achieve this they will use everything they find, this is their power: they play with everything!
To distort ourselves in order to provoke laughter is a very old human practice.
During the workshop we will work with:
– The Mysterious: The Divinities, the Prophets, The Witches and the Demons.
– The Fantastic: Beings that are inspired by humans, animals and technology.
– The Outcasts: the mad, the excluded, the poor and the miserable…
– The Bouffons behaviour: Pleasure and freedom.
– Childhood: innocence and cruelty.
– The hyrerqui of Bouffons and gangs.
– Creation of a Bouffon.
– The relationship with man and the Gods, the destiny and the Universe.
Trainer: Maria Codinachs
She has more than 30 years experience as an actress and theatrical creator.
Do you can see the last espectacle in: www.tunelsteatrals.org
The last twuenty years she has worked as a Teacher in The Institut del Teatre in Barcelona. Their subjects about playing focussing Mask and Bouffon.
Also she has a pedagogically program named: From the neutral mask to commedia dell’arte, with that she has visited diferents parts of the world: Spain, France, Deutsch, Poland, Finland, Cseck Republic. She created the program: the Bouffon or Ectassy of Mockery with Marian Masoliver, who direct the International Theatre workshops in www.actorsspace.org
The important sources in her studies period: Jacques Lecoq, Antonio Fava, Georges Laferrière
Date e location:
from 20/11/2019 to 24/11/2019 in Gliwice (PL)