LABORATORY OF STAGE-CRETIVITA 'THE POINT THEATRE
What prepares you The laboratory
STEP aims to discover the creative path that leads to the idea stage. Creativity is not just the author, but by every member of the "project" art. The ability to read a text critically, to put it on stage and to be directors of themselves and of others, without racing, but through a team work which in itself is already a school.
Aimed at
The workshop is aimed at people with interest in the theater, but that simply wish to go beyond the shyness that want to acquire the means to tackle a job other than the actor, but still in contact with the people. The laboratory addressed to all those who want to confront their own means of expression, verbal and otherwise.
Prerequisites There are no special prerequisites, as well as the willingness to get involved in various types of professional mainstreaming activities, and technical supervision.
Program Description
writing: differences between the story and script. first need to clarify the differences between the various ways of writing a text, so that everyone knows the subject on which we work and why you work in a way that date. Telling is not like writing a text to be represented, or rather, it is therefore obvious that writing a text is the same thing as writing a text represented
write: The pen on the paper. After reaching the minimum common values \u200b\u200bessential to a play, you start "doing." Writing, precisely what the text will be put more or less virtually, in the scene. It is not just an exercise in writing, but also a way to understand what an author should consider when preparing to place the pen on the paper. In some cases there will not even need paper and pen, but only the interrelationship of those present to constitute a body of text.
from the paper to the movement. Once you have the so-called "body" can be begin to make it move. The images come to life written or thought, and point out the mistakes, inconsistencies,
basic rules that determine the credibility of a show, the conventions that a writer, a director and an actor
must know, that is the same as the language, both above and below the stage. Equivalent to knowing how to know the conventions, then also transform.
improvisation that creates. The first real exercise actor in this meeting, and improvisation, which is not limited to a mere representation of an end in itself, but that goes to start the study of practical
reports that, before the actors and then the characters, must have between them. In a nutshell: improvisation, you first need to cement the group, then to seek new situations that were not included in the text or taken into account.
communication: Saying and communicate. Not everything that is present in a text can be written. It is for the director and actors make visible a speech that goes beyond words. This is "communicate, then there's the" say "that does not always equal to the previous concept. You go here, to find the difference between the two modes, when it is appropriate to use them and how they can be included in appearing theater. But it is a process that occurs every day, not only on stage.
try. L 'utility to prove, beyond the simple need to memorize a text. What
consist of the evidence? The methods of approach, the psychology of the actor and character, instinct and natural perception, which is the more natural acting.
the voice from within an expression to the public. L 'actor must communicate well and not just with words, with the voice. It is not always intuitively obvious "how", especially for those approaching the theater for the first time. The emission of sound, breathing, posture, tension. Arguments much less boring than it sounds, because they have to do with everyday life, even before
with the theater arts.
intention, speech and communication. Once you understand how to breathe and emit sound, you need to understand what is said with that sound. Once again communication is the key word. The articulation and diction are functional tools to be understood as the movement is necessary to ensure that the scene is representative of a concept and not merely empty speculation. "
the scene and the stage. O ach space makes sense, in the theater, each object has a meaning. Every step is a reason. In short, the knowledge needs to be on stage. The text, yes, but also the perception of their body in space, space in its own right and movements that draw in space "stuff".
" five minutes on stage " c dares happens before the curtain opens. Once completed the work of preparation is the curtain, real or metaphorical, to be opened. That is the crucial moment, where the message that you think you have a clear head and soul must be sent to those who are entitled to judge: the public. The trick of the actor (who does) is not to underestimate the perception of anyone, but to understand what is good or bad comes, back, from the message sent in the audience.
technical equipment necessary
Given the creative studio, every room used for the material in the laboratory may be sufficient. The complete absence of this material may be functional. In short: the typical connotation of this workshop allows each student to experience space and objects of study in any mode. In a state of "emptiness"
than "full"
DURATION OF LABORATORIES
The workshop takes place over two consecutive days, for about eight hours each day (interview). The end time will be agreed with institution / host structure. The workshops are aimed at all those who want to learn or improve their knowledge of theater, and non-verbal communication, interpersonal relationships in the work to the public.
Number of students per class: Each class will consist of a minimum of 8 and a maximum of 12 students
The cost, per person, all inclusive, is € 100
You should wear comfortable clothes
INFO AND REGISTRATION: Alessandro Galli (writer - director) http://www.lacompagniadensa.org/ - Tel 349 333 20 61 agalli@email.it
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