- Δημιουργηθηκε στις Σάββατο, 02 Ιανουαρίου 2010 01:00
Κινησιολογία και σκηνοθεσία σε καλλιτέχνες όπως Checkov, Laban, Lecog, Grotowski ως μια σημαντική κληρονομιά στην σύγχρονη εποχή και στην κατανόηση του «τι είναι θέατρο» και «πώς λειτουργεί».
Το σεμινάριο απευθύνεται σε σπουδαστές Δραματικών σχολών, ηθοποιούς και σκηνοθέτες, θα γίνει στα Αγγλικά και θα υπάρχει μεταφραστής, είναι πρακτικό και απαιτείται να είστε ντυμένοι με ελαφριά ρούχα πρόβας και παπούτσια χορού.
- Διδάσκει η Dr Ana Sanchez-Colberg
- Ημέρα διδασκαλίας Σάββατο και Κυριακή 6 & 7 Φεβρουαρίου 2010
- Σύνολο Ωρών: 10
- Χώρος πραγματοποίησης Αίθουσα Χορού
- Ανώτατο όριο 25 άτομα
- Θα δοθεί βεβαίωση παρακολούθησης
Ο αριθμός των θέσεων είναι περιορισμένος και θα τηρηθεί αυστηρά σειρά προτεραιότητας. Οι αιτήσεις συμμετοχής πρέπει να κατατεθούν το αργότερο μέχρι 2 Φεβρουαρίου 2010.
Workshop in contemporary approaches to devising theatre
by Ana Sánchez-Colberg,
Artistic Director Theatre enCorps (London)
The workshops aimed at directors and actors focuses on exploring strategies and innovative approaches to devising contemporary performance. The workshops look at the relationship between a performer’s physicality and kinaesthetics to evolving an aesthetic that creates a performative text at the moment of performance. Particular attention will be given to awareness of movement and spatial literacy in order to complement literary-psychological readings of a text. The workshop will re-articulate key concepts of intention and interpretation from the interrelated positions of the performer and the director. The workshop will consider the heritage of movement training and directorial approaches of key practitioners such as Michel Checkhov, Laban, Lecoq, Grotowski and address adaptation of exiting models in formulating a theatre practice that acknowledges our expanding understanding of ‘what theatre is’ and ‘how it works’.
The workshop will begin with movement training for actors in relation to directorial and dramaturgical practice. Emphasis will be given to the relationship between the performer’s process into motion and the resulting expressive form. Detailed texture and execution of movement will be explored, with attention to dynamics, extreme changes of tempi and levels. The second part of the master class will explore strategies of devised theatre making. Particular attention will be given to understanding the cause and effect of different performance registers (voice, motion, emotion, text, sound, space design) to construct a cohesive performative text.
Ana Sánchez‑Colberg and Theatre enCorps
Ana Sánchez-Colberg has gained an international reputation as a choreographer, dance and actress. Ana trained in classical ballet in her native Puerto Rico before turning to contemporary dance. After completing a BA (Hons) in Theatre at the University of Pennsylvania she pursued a Master of Fine Arts (Choreography) at Temple University in Philadelphia. Under the tutelage of Helmut Gottschild (who was assistant to Mary Wigman in Berlin until 1969) she trained in Wigman, Jooss and Tanztheater techniques. During this time Sanchez‑Colberg was a member of the Terry Beck Troupe, a Philadelphia ‑based dance theatre company and Movement Coordinator for Intuitons, a physical theatre company. In 1986, under the auspices of a fellowship from the Institute of Culture of Puerto Rico, she came to England to pursue further dance training and to follow a Ph D programme at the Laban Centre London, which she completed in 1992. She was Senior Lecturer in Performance at Central School of Speech and Drama where she was leading the MA in Performance Practices and Research, contributed to the MA Advanced Theatre Practices and was also Research Supervisors for M Phil/Ph D degrees until the end of 2008.
As Artistic director of Theatre enCorps she has choreographed and produced Alice, Alice, Alice...Are You A Child or a Tee totter (1989‑1990), performed as part of the Edinburgh Fringe Festival, as a site‑specific work at Newcastle Arts Centre and West Greenwich House and as part of Spring Loaded 1990. This was followed by Fragments: Discourse on Love (1991‑92) performed at the Oval House Theatre. Family Portraits (1993‑94) was also performed as part of Continental Shifts at the Edinburgh Fringe Festival and was performed in London at The Place Theatre (Evolutions! 1993) and the Bonnie Bird Theatre. En Viva Voz (1995‑96) was first performed as a work in progress as part of Resolutions!/Evolutions!1995, with support from the Place Choreodrome 1995. The choreographer won the prestigious Bonnie Bird Award for Choreography in 1985. In April 1997 the company produced Now we are no longer who we were then... based on Jean Cocteau’s Jeune Homme et la Mort. She directed Theatre EnCorps international project Futur/Perfekt an international collaborative performance project exploring the relationship between individual histories, city landscapes and the notion of the global. The project began in Berlin in 1998 and was performed in the USA, Austria, Puerto Rico, Colombia and México. In 2004 with support from the Austrian Cultural Forum and the Theatre Museum Vienna she choreographed, danced and produced Mahler’s Fifths. The piece won the coveted Creative Collaborations in Music Award from PRS for its innovative treatment of dance and ‘live music’ in performance. The piece toured internationally in 2005. Her current work, a solo Holds no memory, a collaboration with choreographer Efva Lilja from ELD Stockholm premiered in May at London’s renown dance venue The Place Theatre with support of the Arts Council England and the Ministry of Culture of Sweden.
Ms Sánchez‑Colberg has worked with various international companies. She has produced four commissioned pieces for Ballet Concierto de Puerto Rico: Ojos Que No Ven (1992) which received the first prize in the Festival of Caribbean Choreographers and has been subsequently performed as part of Ballet Concierto’s repertoire including performances in New York’s Lincoln Centre and the Wuppertal Opera House, Sartorii (1994), Entre Huella y Pisada (1996) received various awards from the Corporation for Music and Scenic Arts (NEA) and Tejiendo Memorias (1998). She produced a piece for the Balletts des Staatstheater Cottbus es lasst sich nicht lesen.. which was supported by the British Council (Berlin). Strange Muse, produced in June 1997 was commissioned by the Institute of Culture of Puerto Rico in collaboration with musicians from the Puerto Rico Philharmonic Orchestra. In 1997 she created Tales your mother never told you for Foreign Bodies Dance Company. She has also produced Recollections (1999) for Andanza (Puerto Rico).