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 Amanda Harris (UK)
♦ The Poetic Body by Christian Atanasiu
♦ The Buffoon Mask program: The Ecstasy of Mocking by Maria Codinachs
DATES: from 7th to 11th July 2021
LOCATION: Gliwice (PL)
NEAREST AIRPORT: Katowice, Krakow (click HERE for connections)
ACCOMMODATION: click here to know options
TThe workshops goal is to transport fundamental elements of the techniques of fools, storytellers and street artists in one training package.
These three characters represent, each from their own perspective, the functions of pre-modern stage-arts within popular expression previous to the establishment of the classical figures introduced through the “commedia dell‘arte”.
The psychological and physical levels our own body and mind provides, will serve as tools to our research and representation:
– Perception of space and the action within it (MOVEMENT)
– The quest for ones‘ internal landscape and the epiphany of ones‘ own elementarity (ENERGY)
– The arrival at auditive, facial, physical and performative expression between space, time, energy and object (TOTEM
The “Grammelot” technique builds a performative vehicle in order to combine sounds, phonetic pictures and words without specific contour, enabling us to overcome any previous conditioning and borders, leading towards the very roots of theatrical transmission.
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.
AMANDA HARRIS. Theatrical actress with a long professional career, she began her career with the company Cheek by Jowl and, with the help of Declan Donnellan, played Desdemona in Othello and Marina in Pericles, as well as being the Andromache of Racine on her national and international tours. In London’s West End she played other canonical characters created by Shakespeare such as Beatrice in Much Ado About Nothing, Regan in King Lear and Lady Macbeth in Macbeth. And in his extensive professional relationship with the Royal Shakespeare Company he has also played other Shakespearean characters such as Hermia and Titania in two different montages of A Midsummer Night’s Dream, Virgilia in Coriolanus, Catherine in The Taming of the Shrew, and Emilia in Two Noble Gentlemen. . She also played Cecilia in Tom Stoppard’s Farsas, and on television she played Nancy in Oliver Twist, a BBC production. In 2005 she won the Laurence Olivier Award for her portrayal of Emilia in Othello (the role of her husband, Iago, was played by Anthony Sher), and in 2007 she won the Clarence Derwent Award for her role as Celia in As you like. She has taught at the British American Drama Academy (BADA) and the School of Creative and Performing Arts (CAPA), both in London, in addition to the Shakespeare Institute and The Shakespeare Center in Stratford-upon-Avon.
Date e location:
from 11/10/2021 to 14/11/2021 in Elche (ES)
>>> SOLD OUT <<<
>>> 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.
DATES: from 20th Nov to 24th Nov 2019
LOCATION: Gliwice – Poland
NEAREST AIRPORT: Katowice, Krakow (click HERE for connections)
ACCOMMODATION: www.airbnb.com cheap solutions starting from 25€/30€ per night per person
LOCAL CONTACT: Adam Bismor bismor.adam(at)gmail.com
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)