The Creative Actor
Residential Summer Course
With techniques originally developed by Jacques Lecoq, this workshop aims to release the creative power of the actor using the body, imagination and play.
2nd – 10th Agust 2018 (including arrival and departure dates)
Workshop fee: 490€ (includes on-site accommodation and meals).
10% discount if you come with a friend (discount to each) or if you book more than one workshop (discount for each workshop).
Reserve your place with a 70€ deposit (non-refundable). Fill in the form to book >>>
This ‘essential’ training gives a comprehensive experience and understanding of the art of acting.
The course is carefully crafted with progressive exercises and techniques that release the creative power of the actor. This workshop serves as a lifetime investment in the dramatic arts leaving an imprint on the artist’s body that is incorporated in the true sense of the word. The ‘actor as creator’ is the core principle of this workshop.
What we will cover:
Presence, Space, Timing and Rhythm
Re-play of daily life
The Neutral Mask
How to devise a scene (space, situation & event)
Thematic Heart. What do we want to say?
Who is this workshop for?
Actors, drama students, drama teachers, writers and directors will all find this course to be a great resource in their work.
Professional actors will find this work intensive and refreshing. Work on neutrality will help to clean bad habits and free them to explore new areas of themselves and their art.
Students of performing arts will attain the right habits early in their career.
Writers and directors will discover the ‘shared poetic depths’ and will look at what they want to say. It will also give them an invaluable experience of ‘getting into the shoes’ of the actor and an understanding of the actor’s art and process.
This daring and physical approach will allow all participants to benefit by getting into their bodies and exploring their full physical potential.
Teachers of drama will be immersed in ’play’ and will learn new techniques and exercises based on Lecoq training that they can use in their acting classes.
Neutral Mask (essential dramatic presence) – this mask allows the actor to simplify and modify their own physical habits and idiosyncrasies through a series of special improvisational exercises. The actor un-learns and uncovers the body’s full dramatic potential as a blank page, which later will take on different dramatic states and characters.
The Child (play, energy, imagination, state and innocence) – play is an innate instinct that we all share and is the driving force of theatre. Through this liberating work the actor becomes released from inhibitions and self-consciousness. Freedom and spontaneity are accepted as our natural state and in this state we allow our imagination and creativity to flourish. We then channel this ability and energy into more sophisticated play and games which we then develop into dramatic and comic creations.
Mask Theatre (including mask making) – through mask work we develop the expressive power of the performer through stillness, movement and the dramatic attitudes of the body. By using masks in training the ability and the freedom of the physical actor becomes greatly increased. It is a territory which frees the performer to play in a heightened register.
Re-Play of Daily Life – to be authentic, the actor must observe daily life and then convey these situations and incidents without exaggeration or distortion. This work with space, timing and action is a vital building block for later performance and creation.
Theatre Creation and Performance – identifying the motors in the dramatic or comic situation. Working with the dynamics of a scene, playing with rhythm and crescendo.
Through the skills and techniques we explore, you will develop your corporal and poetic senses. You will learn what is playable, how to construct a scene and how to work as part of a creative ensemble. In any given performance situation you will be able to get the most out of yourself as a performer and as an artist. Past participants have applied this physical theatre training into both the devising of new work and classic text based productions.