WORKSHOP #1- Movement:THE BODY ELECTRIC HOURS: 03
The Body Electric harnesses natural physiological processes to unify body, mind and heart in acting. Synthesizing theater and dance, Primary Movement Qualities and Fitzmaurice Voicework guides the actor’s mind, spirit and heart from reflexivity to reflectivity.
Two phases of work, Reflex and Communication, lead from visceral awareness to sensual reflectivity, creating a heightened state of awareness. In Reflex, the actor activates physical and vocal impulses. In Communication, the actor synthesizes instinct and intellect. The Body Electric sequences Hatha Yoga, Fitzmaurice Voicework, and movement dynamics to bring instinct together
with reason and emotion in psychophysical characterization.
In the Body Electric, whereas Vibratory and Pendular qualities create character, Sustained and Abrupt serve as a bridge between the actor and the audience. Living moment to moment in a heightened state, the unmasked actor accesses the heart to revive the textual character’s spirit.
The dynamic physical and vocal process impresses an indelible mark on the character’s unique voice and movement print that brings forth universal essence. The how of movement is how to of characterization.
Two phases of work, Reflex and Communication, lead from visceral awareness to sensual reflectivity, creating a heightened state of awareness. In Reflex, the actor activates physical and vocal impulses. In Communication, the actor synthesizes instinct and intellect. The Body Electric sequences Hatha Yoga, Fitzmaurice Voicework, and movement dynamics to bring instinct together
with reason and emotion in psychophysical characterization.
In the Body Electric, whereas Vibratory and Pendular qualities create character, Sustained and Abrupt serve as a bridge between the actor and the audience. Living moment to moment in a heightened state, the unmasked actor accesses the heart to revive the textual character’s spirit.
The dynamic physical and vocal process impresses an indelible mark on the character’s unique voice and movement print that brings forth universal essence. The how of movement is how to of characterization.
WORKSHOP#2 - Directing HOURS: 03
1. Create a process to research, prepare, rehearse and present a performance based on contemporary directing methods through experiential practice.
2. Build communication skills with actors and designers in the rehearsal process.
3. Foster understanding of how design of actors and architecture interact in theatrical, film set and site-specific spaces.
4. Set and assess objectives and rehearsal goals through peer-observation.
5. Develop a director's concept
6. Analyze script using beat changes, objectives and tactics
7. Direct scenes using contemporary processes.
2. Build communication skills with actors and designers in the rehearsal process.
3. Foster understanding of how design of actors and architecture interact in theatrical, film set and site-specific spaces.
4. Set and assess objectives and rehearsal goals through peer-observation.
5. Develop a director's concept
6. Analyze script using beat changes, objectives and tactics
7. Direct scenes using contemporary processes.
WORKSHOP#3 - Acting HOURS: 03
1. Introduction to Stanislavski technique: Playing Action
2. Exploring Michael Chekhov technique:
a. Operating principal: the inner event translates to the outer expression
i. Push, pull, press, lift, throw
1. Imagine the physical movement
2. Perform the actual physical movement
3. Pair the physical movement with line
4. Speak the line with imagined physical movements
ii. Explore dialogue using each gesture
b. Thinking, Feeling and Will are necessary for communication
i. Physicalize each aspect of performance
ii. Incorporate each sensation into a monologue
c. Rudolf Laban and Warren Lamb: movement qualities cause a flow of action
i. Improvise with Laban’s movement qualities
1. Attention: Space (Direct and Indirect)
2. Intention: Weight (Light and Strong)
3. Decision: Time (Sudden and Sustained)
4. Action: Flow (Free and Bound)
ii. Build the logic of a monologue through movement qualities.
2. Exploring Michael Chekhov technique:
a. Operating principal: the inner event translates to the outer expression
i. Push, pull, press, lift, throw
1. Imagine the physical movement
2. Perform the actual physical movement
3. Pair the physical movement with line
4. Speak the line with imagined physical movements
ii. Explore dialogue using each gesture
b. Thinking, Feeling and Will are necessary for communication
i. Physicalize each aspect of performance
ii. Incorporate each sensation into a monologue
c. Rudolf Laban and Warren Lamb: movement qualities cause a flow of action
i. Improvise with Laban’s movement qualities
1. Attention: Space (Direct and Indirect)
2. Intention: Weight (Light and Strong)
3. Decision: Time (Sudden and Sustained)
4. Action: Flow (Free and Bound)
ii. Build the logic of a monologue through movement qualities.