RE-ACT // SPECIALIZED TRAINING FOR INTERPRETERS
Like any other activity, artistic creation evolves, reflecting its time and the political-social context.
Theater and performance, as artistic forms of total exposure and delivery, demand from their professionals constant attention to their surroundings, to what other creators do and to how their main instrument, the body, can be used.
Interpreters are in constant need of training and seeking knowledge of what is done, how it is done and why. Since theater is a space for reflection through action, it is essential that the performer is like a gymnast: available, flexible, knowledgeable and courageous.
Specialized training therefore has a fundamental role in the creative process, by providing a revisit to essential methods and tools, which provide the interpreter with the skills and confidence necessary to participate in the creative processes.
This specialized training is aimed at professional interpreters, in four aspects: voice , body , interpretation and performance .
It will be carried out in partnership with the Institute for Training, Research and Theater Creation (IFICT), founded by Adolfo Gutkin.
Focused on time, it takes on the character of an intensive three-week workshop.
All the trainers are recognized professionals in the area: Adolfo Gutkin and Paula Freitas (Interpretation); Catarina Câmara (Body); Luís Moreira (Voice) and Mariana Tengner Barros (Performance).
DETAILS // BODY MODULE
07 to 14 May 2022 |
10:00 am - 1:00 pm and 2:30 pm - 5:30 pm
IFICT - Institute for Training, Research and Theater Creation
Price 75 euros
Subscriptions | firstname.lastname@example.org
Registration until 30th of April | limited spots
Information | email@example.com
7th to 14th of May 2022
It is intended to create a space for sharing and experimentation from the body work and improvisation methodologies of Companhia Olga Roriz.
“What makes me move?” it is the question that prefigures the territory of dance-theater and that values the recognition of the sensorial and affective map of the performer's body with a view to the construction of an authentic and singular discourse. We will use anamnesis games, invoking personal reminiscences, incomplete memories, recovering and re-inventing the white space of memory in the search for a singular and collective imaginary, non-transferable and shared.
“How do I move?” privileges the phenomenological approach through observation in movement and active description of the experience: perception and states of presence, recognition of impulses, limits and fantasies, listening and articulation of rhythm, intensity and form.
We will facilitate the incubation and manifestation of physical and emotional states, transition between chaos and order, summoning functional bodies and disruptive bodies.
“What do I move for?” promotes the contextualization and intentionality of improvisation, clarifying and challenging the communication process between artist and spectator. Here we will move the feeling and meaning of movement: processes of re-signification of the natural and everyday gesture, the resonance of the symbolic and the value of the absurd in the discourse of the body.
Dates to be announced
The voice is one of the main vehicles of communication - the voice obeys the same logic as any other muscle in our body and can be worked and improved. In the same way that we work with other communication tools, we must consider verbal communication as a fundamental vehicle of presentation. It is intended to improve verbal communication, the basis of the needs of a professional actor and the improvement of the communication mechanisms of a professional actor - breathing, placement, projection and diction.
Dates to be announced
Work the actor's interpretation through interrelated vectors: imagination, attention and memory; physical actions and relationship with thought; objective and expressiveness; impulse and communication; the body spaces, the word, the text and the character.
Regarding the action on stage, essential issues will be revisited: body and mental training; body concentration; breathing and relaxation; living and mortal presence; spirituality and transcendence; the expressive unit.
Realizado Outubro 2021
Iremos criar um laboratório de experimentação criativa, que indaga as possibilidades da dança, do movimento e da performance como prática política de ativação do corpo. Serão investigados modos de atenção e estados de consciência que permitam a reconfiguração dos filtros que usamos para entender a “realidade”. Através da pesquisa de movimento com base na perceção e sensação, conexão corpo-mente e expansão dos sentidos, preparar-se-á outro corpo, articulado, que exprime a linguagem não linear e complexa oriunda da tópica emocional, sensorial e imaginativa, permitindo que a forma apareça através da sensação e da atenção. A prática de liberdade, sem as diversas “programações” a que estamos sujeitos enquanto seres humanos, ao desconstruir e reconstruir as múltiplas imagens que temos de nós próprios, e do mundo, enquanto dançamos. A noção de dança será constantemente posta em causa através da reconfiguração dos padrões de comportamento e identidade. Abarcar-se-á o jogo, o jogar a sério, que é brincar, porque brincar é essencial para a perceção lúcida da realidade, desligada da auto-censura e em sintonia com a curiosidade.
Curatorship - Companhia Cepa Torta
Production Director - Miguel Maia
Production Assistance - Paula Fernandes