Friday, 4 November 2011
Wednesday, 2 March 2011
Monday, 6 December 2010
5 DAYS INTENSIVE
29th Non-3rd Dec 2010
physical expression in theatre
venue: FHSpace, Forest Hill, London.
These workshops are open to Actors, Dancers, Performers and Individuals interested in expanding their practical understanding of various approaches to physical theatre training. The aim is to enrich skills, working with movement, voice and imagination.
Grotowski&Chekhov: 29th Nov-1st Dec / 10-5pm
Krystian Godlewski, Artistic Director of the Bones Theatre leads this physical workshop over three days. He will be drawing from J.Grotowski and M.Chekhov, Butoh and Dance Training to explore a body based approach working with movement and voice. Participants will work on the “Lover” by Harold Pinter.
Laban: 2nd-3rd Dec / 10-5pm
A creative workshop investigating the Art of Movement based on R.Laban's holistic and universal approach. During the 2 days Dagmara Bilon will engage participants in movement improvisation; diving into the world of movement, exploring the body as an instrument of expression and a reciever of impulses. Looking at inner experience in relation to space, form and dynamics.
Friday, 16 July 2010
Grotowski meeting Chekhov
12th-15th July 2010
Grotowski meeting Chekhov – Exploring Physical Expression
venue: People Show Studios, Pollard Row, Bethnal Green, London.
This body-based exploration of how to be vividly alive and present on stage
will draw on elements from dance, butoh, mime, and martial arts.
The emphasis will be on exploring the natural and instinctive impulses of your body, discovering and working through any blockages, and gaining simple, practical, and physical techniques to free your body and voice.
You will be working closely with others and build an ensemble, which will lead to a short, presented piece to an invited audience of friends.
Saturday, 29 May 2010
Contemporary Grotowski workshops
In the mornings Przemek Wasilkowski and Magdalena Tuka leads an actors physical “artistic” training using methods pioneered by Grotowski where energetic movement scripts are employed in awakening awareness and the release of inner action.
In the afternoons, building on the mornings training and exploring Grotowski’s “actions” builds performance scenarios working with text from "Attempts on Her Life" by martin Crimp.
“(…) Don’t mistake it for simple muscle training. It’s actors training. One's body should be ready to hold on in the most dynamic energetic moments of a role.
The actor’s job is hard physical work. Acting is also a profession; so one has to train ones instrument with diligence, as a pianist does. One has to train so that the body is complicit during the creative process, and dose not disturb or seek escape from doing.”
An actor can’t work without intuition; but to avoid becoming lost in the foggy intuitive world, one has to begin with the senses, which means with the body.
We need to use our mind as well in order to understand this 'Other Creature' we try to be on the stage. To be it, not to act it.
(Przemek: “States of Shock”)
Jerzy Grotowski (Routledge Performance Practitioners) - James Slowiak Jairo Cuesta
Written by two theatre professionals who worked intimately with Grotowski over the last twenty-five years of his life, this book fills a gap in the published writings about this master director and teacher.
In this book, the writers demonstrate Grotowski’s significance and how his frank rhetoric, his revolutionary theories, his landmark productions, and pioneering cultural projects continue to cause controversy and provide fertile topics for discussion and further experimentation in theatre studios, classrooms, and on stages around the world.
The book introduces Grotowski to a new generation of theatre students, outlining his contributions to twentieth century performance and placing them in context and in perspective.
Sunday, 9 May 2010
Michael Chekhov workshop
The Michael Chekhov technique is a psycho-physical approach to acting.
It privileges the imagination as the actor’s source of inspiration and favours an impersonal, objective approach to characterisation. The work is intended to create a real and spontaneous connection between the actor’s physical body and psychology and prepare the actor for what Chekhov calls ‘inspired acting.’
The workshop explored
a) the psycho-physical exercises which form the basis of Chekhov’s work and
b) how to approach characterisation using imagination, qualities and atmosphere.
We draw on the text of Lorca’s Blood Wedding as source material
About Michael Chekhov: Michael Chekhov (St. Petersburg, 1891 – Beverley Hills, 1955) was the nephew of Anton Chekhov and considered by Stanislavsky as his ‘most brilliant pupil.’ He was known as one of
About Sinéad Rushe: Sinéad Rushe is a director and performer (www.sineadrushe.co.uk). She has studied the technique with Sergey Issayev (GITIS,
Really good and intense work. If you will meet her workshop on your way definitely go! Highly recommended.