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 Peter Schub
♦ The Jesters and the Mask by Andrés del Bosque
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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.
Adam Bismor +48 792773760
In medieval times in England starts to develop the form of Pageants, which are itinerant performances using ox-carts carrying the scenes of the mystery plays. The Pageants are the forerunners of the carnival wagons, which is a well rooted tradition all over Europe. In the contemporary Street Theatre there are many touring productions that use self-propelled scene machines, This workshop, aimed at actors, designers, and artists / craftsmen intends to review the techniques and technologies (both sustainable) that can be used for this type of productions. The trainers will bring in some information about the kinds of material employed in the building of carnival floats, and some methodology of taking a concept through to construction – including the re-cycling of existing vehicles. However the focus of the workshops would be more set on the actors performance during parade, the course provides an overview on the techniques of street show and contact with the public, with the aim of joining the figurative techniques with the stage action.
Trainer: After the humble beginnings of a set of fire clubs on street corners around Ireland, Hillas went on to tour the wider world. Formerly to expand his skill base, both formally in school and informally amongst the many friends he has worked with; and latterly to hone the performance of those skills not only on the street but also under big tops, in cabarets and even in prisons. He considers himself a “jack of all trades”, creating solo street shows from a variety of skills; but primarily working directly with his audience. He has a love of slapstick and farce, enjoying, and influenced by, the stunts and style of many of the old silent movies. While he often works as a solo performer, he relishes the opportunity presented when collaborating on ensemble pieces such as “Unsuitable” (2016-2018) & “Toin Thar Ceann” (2009 – 2011) (with Tumble Circus) or “Cyclope” (2012; 2014) (with PlateauLac/MAAG). As one of the founding members of Circus Bone Idle, Hillas was involved in many site-specific performances that the company undertook, from celebrating the centenary of Belfast City Hall (Fly Butterfly), and the re-opening of the Crescent Arts Centre to the first site-specific performance commissioned by the pFlasterspektakel in Linz, Austria. Bone Idle also worked on many Carnival parades with the Beat Initiative, a Belfast-based carnival collective, bringing circus arts to the carnival for the first time in Belfast.
● “The poetic body”, course held by Peter Shub (DE)
Physical theatre is based on the idea that performance is about skill, celebration and play, rooted in collaboration, and made by an ensemble dedicated to discovering a collective imagination. This workshop will explore the analysis of movements, one of the fundamentals of Jacques Lecoq's & Etienne Decroux’́s approach to artistic training.
Trainer: Peter has a distinguished career as a freelance actor and director. He has worked with many leading international organizations and artists, such as Köln Comedy Schule, The Philadelphia Opera Company and the Cirque du Soleil. Peter has taught theatre widely through Europe and also offers his famous Clown workshop which is about comedy, humanity, improvisation and the rhythms of theatre.
Date e location:
from 25/09/2019 to 29/09/2019 in Elche (ES)
● “The Jesters and the Mask”, course held by Andrés del Bosque (ES)
It is possible to draw a line in the theatrical tradition that comes from the sacred clowns or ritual buffoons to the modern contribution to the contemporary theatre of Jacques Lecoq, Darío Fo, Gordon Craig, Tadeusz Kantor. And we can affirm that without exception the most powerful currents of the western theatre sink their roots on this path.
Andrés del Bosque is not a teacher anymore, he is a master with whom to travel to new theatrical worlds. His courses are an experience that changes the perception of things, reality and theatre.
Trainer: Andrés del Bosque is an actor, director and playwright, professor of the RESAD (Official School of Theatre of Madrid) from 2005 to 2012, graduated in theatrical direction, master and doctor in performing arts with his thesis "In search of the lost laughter. Contributions of clown to theatricality " by the Rey Juan Carlos University of Madrid.
Date e location:
from 13/11/2019 to 17/11/2019 in Gliwice (PL)