MOVEMENT FOR ACTORS/ ACTING FOR DANCERS

1-5 April 2024

EDEN Studio *****, Berlin - Germany 

 

Special program, primarily aimed on those who work primarily on the "movement part" of performance,  and for directors or performers who are interested in gaining tools, approaches and methods to create physical performances of any genre.

​

Also, it is aimed at professional physical theatre, performance, dance and movement artists who wish to develop their skills, views and approaches to work on stage by self and with others, and ultimately meet peer colleagues from around the world and get new connections with professionals. 

​

Program consists of several blended sessions with 2 different teachers, focusing participants on the practical exploration of the following topics:

​

• improvisation and spontaneity - as a tool for rehearsals and making a performance;

• emotional language of the body through dance and movement;

• ensemble building and creating performance pieces in limited rehearsal time;

• movement training, floor-work and animal technique; 

• Physical Theatre through a prism of traditional Theatre school and contemporary European approaches. 

​

The training is designed as the multidisciplinary intensive lab with participation and practice together with performing arts practitioners from different techniques and countries.

​​

This workshop can lay a solid ground for your further professional development as a performer, choreographer, Regisseur or teacher.  It can help help you to formulate your personal unique approach to work on performances and work with performers, and a general approach to building up a creative process.  

 

The course is taught by experienced professional practitioners, experts in performing arts pedagogy, actors’ training, theatre directing and movement research in intercultural groups and projects. 

 ​

The working language is English.

"Now, here is a lightbulb moment that alone was worth every single cent I paid for the course – 

Active verbs as physical action – gives actor a physical target – physicality evokes feelings – remembering the physical action and bumping up the scale to a million percent has an impact on the exterior performance of the actor in a way that is remarkable...
...This exercise evolved as we worked with our monologues – I can really see how this approach of physical target, active verb as action can help elevate a performance without the draining intellectualisation of Stanislavski’s “what do I want, How do I feel? Why?” – will certainly be using it in my work".