Improvisation, at the origin of the creation process, is developed from dramaturgy tools that allow actors to establish structures, networks and scales that guide the intentionality and inventiveness of a work.
DRAMATURGICAL ORIENTATION OF THE WORKSHOP
Reactivity and non-reactivity | Immobility and action | Frontal gaze and incidents | Action and objective | Pantomime and manipulation of imaginary realities | Onomatopoeia and grummelot | Depersonalisation: creation of characters (from incarnation to suggestion) | Obstacle and conflict | Acting model | Structure of an improvisation | Epic orality | Presentation without a fourth wall | The tilting of the gaze | Rehearsal and repetition | Final show (the public presentation will take place in the last two hours of the training or at a later time)
SINOPSE
SYNOPSIS: Improvisation, at the origin of the creative process, develops from dramaturgical tools that allow actors to establish structures, networks and scales that guide the intentionality and inventiveness of a work. Often accustomed to relying on a previous, extrinsic stimulus (usually a written dramatic text), the actor feels helpless, lacking confidence and "out of ideas" when processes require improvisation to take part in research or even be embodied in the staging itself.
Can the actor have a "new brain", take on improvisation as a work that flexibly repeats itself, evolves and is transmitted in an intentional, consistent way, capable of provoking a living encounter? Can this art of unfolding simply face the empty space and the unknown inherent in discovery from a more conscious, structured and intentional perspective?
Throughout the workshop, three historical moments will always be in the background, evoking in a very intimate and obvious way the paradigm of Total Theatre: (1) the practice of epic orality by the bards, poets and storytellers of those centuries immediately preceding the technological advent of writing, (2) the virtuoso and highly inventive work of the Renaissance/Baroque actor of the Commedia dell'Arte and (3) the movement of dramatic renovators at the turn of the 20th century, with the initial impulses of symbolism, projects creators who seek, paradoxically, a theatre without actors (shadows and statues) or, at least, attenuating their presence, dematerialising the "flesh" with human puppets, masks and anything else that takes them away from the material contingency of the body and naturalistic aesthetics.
At a time when the other is expelled, the formal interdependence of seeing and doing is destroyed, or the sphere of public space is vitally wounded, the workshop The Creative Actor also seeks to make objective contributions so that the actor depends on himself, so that he learns to re-establish the link with those who observe him, complement him and make him constitute himself: the spectator.
Complementing a 30-hour programme in which participants were invited to structure ideas and defend them with their bodies in space, a session open to the public is planned in the form of a show in which the collection of works will be presented publicly, with the potential to focus mainly on identity, memory and cultural insertion.
The exercises and practices of this workshop will have as their backdrop a whole imaginary of real or fictional narratives related to the theme of migration. The lives of immigrants and emigrants, their intersection, the conflicting and paradoxical tension of their worlds - when in fact one is an emigrant in a land of emigrants - will be elements capable of transporting the work to a final presentation.
Identity, (dis)settlement, community, family, (dis)employment, cultural (dis)insertion, globalisation, tourism, exile, are the themes of a small exhibition that this object will show to an audience. Without the fourth wall, eye-to-eye, an encounter with actors and spectators that links an ancient and profound reality to the current situation in the Autonomous Region of the Azores.
TRAINER / WORKSHOP DIRECTOR:
Nuno Pino Custódio, has shown stagings at Teatro Meridional, O Bando, Companhia do Chapitô, Teatro do Montemuro, As Boas Raparigas, Teatro dos Aloés, Teatrão, FC - Produções Teatrais, Companhia da Chanca or ESTE - Estação Teatral, among others. He was Artistic Director of Teatro Experimental A Barca (1990-98), Teatro das Beiras (2004), Teatro Oficina (2005-06) and ESTE - Estação Teatral (2004-21), as well as the TeatroAgosto Festival (2005-19) and the 1st Iberian Theatre Fair in Fundão (2019). He has developed a mask acting methodology and has collaborated as a pedagogue with: FLUL, UE, ESEC, ESMAE, ESTAL, Conservatório de Música de Coimbra, Circolando, Teatro Meridional, O Bando, Escola da Máscara, FIAR. He teaches at ACE (Porto) and ACT (Lisbon). He has directed and given workshops at the university theatre: GRETUA, CITAC, GEFAC, TEUC and TUP. He was a researcher at FLUL's Centre for Theatre Studies between 1996 and 2000. In 2022 he founded Non-Player Character, a structure designed to develop the idea of theatre that he has been researching for three decades.
コメント