The Actor/Creator & The Ensemble workshop
New Workshop with Ravi Jain and Adam Paolozza December 2-6, 2013
The Actor/Creator and the Ensemble
5 Day Intensive Workshop
What does it mean to be an actor/creator?
These are questions that we encounter all the time from theatre artists who are frustrated with conventional processes and yearn for something more. Artists who wish to create their own work collaboratively but haven’t been exposed to the practical skills involved in such a feat.
Our pedagogy is based on the Lecoq training, however, it is a little known fact that 50% of the training at Lecoq is self-directed creation. We will re-create these conditions during this workshop.
We are proposing a 5 Day intensive workshop focusing on developing skills that are practically useful in the creative process
We will focus on:
actor training – based on movement technique and improvisation (how does the actor/creator move and play in the space)
This workshop is designed for performers/writers/directors of all disciplines and skill levels who wish to explore their physical presence, improve their ability to improvise and “write on their feet” and develop a healthier ensemble dynamic during the creative process.
December 2-6, 2013
Some scholarships available.
For enrolment contact Adam Paolozza firstname.lastname@example.org
We offer workshops based on a unique approach to the teaching methods of Jacques Lecoq on a regular basis.
Current Workshop: Lecoq>Stanislavski>Mashup
June 19, 20, 21 2013 at Zuke Studios
There are many well-worn clichés surrounding Lecoq and Stanislavski’s training methods: Lecoq actors are great movers but cannot speak or emote, while actors trained in the naturalistic way have great depth but little technique. Lecoq actors exaggerate too much, they’re all surface. Actors using Stanislavski’s methods are too small, it’s all on the inside.
One could say Lecoq taught the way of Body while Stanislavski the way of the Heart.
If you ask me this is bullshit. Pure BS.
All great acting is physical, mental and emotional. Both Lecoq and Stanislavski looked at the Body, the Mind and the Heart. They were both looking deeper towards a holistic technique for the actor. They both asked, What does it mean to be onstage?
Q: How do we get beyond the prejudice and clichés surrounding Lecoq and Stanislavski and find an approach that brings them together?
A: A Mash-Up between these two theatrical giants of the 20th Century.
A Mash-Up is when you blend two previously existing things (usually songs) and seamlessly transform them into something new.
Transformation is the key here: by taking key concepts from Stanislavski and reinterpreting them through key exercises by Lecoq we want to transform the process and open up new possibilities for actor training.
We want to take ole’ Jacques and Constantin and mix’em up, mash’em together and see what happens.
This workshop will consist of 3 intensive days of exploration including:
This workshop is suitable for all performers who are curious, wish to experiment and take their existing craft further.
A 3 Day Experimental Acting Workshop with TheatreRUN’s Adam Paolozza
JUNE 19, 20, 21st, 2013
@ Zuke Studios
1581 Dupont Street
(In the Junction – just West of Symington)
$150 + HST ($169)
($50 deposit required to hold your spot)
*Discount available for all union members*
Some scholarships available
Contact Adam at theatrerun.ensemble(at)gmail.com to sign up or for more info.
International Workshop with Marcello Magni
march 26-31, 2011 Toronto, ON
Presented in Partnership with Why Not Theatre and the Canada Council for the Arts
Marcello Magni is one of the founders of Complicite and is a world class physical performer who regularly collaborates with Simon McBurney and Peter Brook. This intensive workshop will explore the world of Commedia Dell’arte, using authentic leather masks made by Amleto Sartori. Stretch your physical language beyond its limits and search for richness in expressivity, creativity and imagination of your physical gestuality. As part of the workshop we will explore the pedegogy of Jacques Lecoq, as well as creation methods used by world famous UK physical theatre company, Complicite.
Using silent films and comedy classics of the 20s and 30s as inspiration, students will apply learned skills towards creating and staging their own comedic and characters.
Being Funny Series
“The clown doesn’t exist aside from the actor performing him. We are all clowns, we all think we are beautiful, clever, strong, whereas we all have weaknesses, our ridiculous side, which can make people laugh when we allow it to express itself. “
Why do we laugh? What makes us? How does it happen?
Over the two days we’re going to play around with these tough questions. Using games, exercises and improvisation we will explore:
* le jeu (comic play)
* playing with your vulnerability to find your own clown
* comic rhythm and timing
* comic acrobatics (prat-falls, hat tricks, working with funny objects etc.)
* finding the comic in the everyday situation
The clown allows us to look at ourselves, with all our strengths and weaknesses, and laugh!
It is an invaluable technique for performers of all disciplines who wish to improve their presence, timing, balance and to find the pleasure of being onstage.
It is for those who wish to take a risk, be vulnerable and open themselves up to the moment.
MIME: Creative Theatre Through Movement
A two-day intensive introduction to Mime
“For me mime is an integral part of theatre, not a separate art form. The Mime which I love involves an identification with things in order to make them live, even when words are used.”
What does it mean to mime? To mime is not just to put on white face paint and black tights. Mime is the most basic tool of the actor. The Mime imitates the world around them to better understand it.
Inspired by the pedagogy of Jacques Lecoq this workshop focuses on developing mime skills to enrich the creative imagination and physical expression of the actor.
Through games, exercises and improvisations we will focus on the following:
THE BODY: an approach to building character that begins with the actor’s body. Students will begin to express strong emotional and psychological states through precise gestures, rhythms and clear physical choices.
THE SPACE: an awareness of how the moving body creates a theatrical space around it and how to put this space into play
SILENT PLAY: a series of improvisations that explore the dramatic potential for play in situations before speech becomes necessary.
Being In The Moment
Mime and Neutral Mask
The neutral mask is a means to discover, to recognize and to assume the “neutral state” that exists before action, a state of receptivity to all around us, a state of balance from which it will be easier to understand and express imbalances and conflicts that lead to building characters. It is a basic mask to support all mask work. It is a foundation and point of reference for building all character.
Through a series of improvisational exercises based on techniques created by Jacques Lecoq, the Neutral Mask allow actors to:
* Discover a large, theatrical presence that is balanced, centred and focused while expressing powerful, authentic emotions on stage.
* Heighten spatial awareness
* Become aware of personal physical habits that block the creative process
* Support and develop physical expression
* Discover the power of stillness
Introduction to Commedia Dell’Arte
Masks, Stock Characters and Improvisation
This workshop is designed to introduce students to the history and fundamental skills required to play in the manner of the Italian commedia.
- how to move and improvise while wearing the mask
- the individual movement, gestures and place in the social hierarchy of the stock characters
- how to create comic scenes through improvisation