The Creative Actor 21st-29th July 2020
Residential course in the countryside. Because of the circumstances, we have reduced the places to a maximum of 12 participants (on single rooms).
With techniques originally developed by Jacques Lecoq, this workshop aims to release the creative power of the actor using the body, imagination and play.
Professional 600€ (includes on-site accommodation and meals).
Concessions 490€ (includes on-site accommodation and meals).
Concessions include: students, low income and those financially affected by COVID-19. Please contact us to apply for concessions.
Camping option 390€ (3 places available – includes all meals).
Come with a friend and each one of you get a 10% discount.
If you do two workshops, get 10% off on each workshop.
Reserve your place with an 80€ deposit. Fill in the form to pre-book >>>
Info on COVID-19.
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:
- Space, Presence, Timing and Rhythm
- Movement technique
- Re-play of daily life
- The Dramatic Motor & the Principals of Play
- Children and Animals
- Mask Work
- How to devise a scene
- The Crescendo
- Collective Creation
- Thematic Heart & Poetic depth.
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.
This daring and physical approach will allow all participants to benefit by getting into their bodies and exploring their full physical potential.
Professional actors will find this work intensive and refreshing, the workshop will help them 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.
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.
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.