Tuesday October 1, 12:00pm – 6:00pm
Studio Theatre, CSU East Bay California State University East Bay, 25800 Carlos Bee Blvd Hayward
PLEASE NOTE THIS ACTIVITY IS FULL AND TICKETS ARE NOT AVAILABLE.
If you wish to be placed on the waiting list please send an e-mail to email@example.com
Free Workshop. Limited Limited spaces are available to members of the public to participate in a physical training artistic diretor of Studium Teatralne artistic director, Piotr Borowski and members of t the company. The workshop encompasses work on the intellect, body and emotions and is meant for intermediary and advanced students.
What kind of person do we want to show on the stage?
This question which we posed for ourselves for many years has helped us create a physical training encompassing work on the intellect, body and emotions. The body of the actor, his/her mind and emotions should develop a way in which their spectrum will be broad from ever so subtle one, to a more immediate, rapid one. This is pretty obvious.
We often refer to the example of a hand within a glove- the role. The spectator does not see the hand, he sees the role (the glove), which is moved by the hand. We are interested in developing that which is hidden, the hand, in such harmony so that it will always have full control over the role. Only then can we consciously and securely accomplish the actor's task, the creation of the role by a so called distortion, by shifting the balance of power between the body, the emotions and the intellect.
In practice we challenge ourselves to be fully present and ready with others. We do exercises but also we play and find the joy of being with one another. Being organic brings as closer to the artistic truth and harmony, nevertheless, we are also aware of the fact that playfulness, make pretend, can bring us closer to our partners. We always think of transgressing the borders, that's why we create in the theatre, however, we also think about the happiness which is derived from our working together. Getting to know ourselves and others is as important as the act of transgression.
To make all of that possible, we work on being present and ready to interact with others.
We focus on:
1. Stretching exercises- taking into account the dynamic of change.
2. Simply acrobatics- with respect to silence
3. The organic movement -playing with the idea of changing into animals
4. Exercises-focusing on articulation
5. The relationship between a dynamic and passive, restrained movement
6. Interactions with partners
8. Space awareness