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THE BODY, THE VOICE AND THE SCENE


SEMINAR with Claudia Contin and Ferruccio Merisi - Experimental School Actor

Thursday, Friday, Saturday 25 - June 26 to 27 2009 - Palestrina Via Bellini-Treviglio-BG-
(Thursday and Friday from 19 to 23 hours, Saturday from 10 am to 13 and from 14.30 to 18.30)
The seminar is organized by the Theatre of TAE Treviglio, for info and reservations Lele tel 349/3428707
16 students may participate in the seminar (with theatrical experience both educational and professional) and given the limited seating Reservations are accepted by June 10 - Cost € 100.00

THE BODY, THE VOICE AND THE SCENE IN COMEDY

In view of the Experimental School of the Actor postures and gestures of the various special characters Commedia dell'Arte is the real objective limits, which reduce and break down the "rightness" of the human body and extract it together and come on strong presences and energies "deviant".
The poetic potential of this phenomenon, protected from the aesthetic category of the grotesque, is a fascinating intersection of resonances: the rebellion carnival dance mediumship, the comedy "Unreasonable" for the celebration of humility and crudity, by the vision of a "natural anti-naturalistic" (plus the original anthropological point of view or even animal) to the consideration of vital secrets hidden in the so-called handicap (one of the clowns, the " village idiot "by some shamans) ...
For the actor interested in meeting these particular dimensions of meditation and creation, within the limits of a short course, you also open up - in an "incorrect", or fun and irreverent than the obligations of the actor "classic" - some important experiences of universal stage techniques, such as: the dialectic between form and motivation; energy management in relation to the balance, rhythm and space, the relationship between the body and the voice, the prospects for improvisation, the composition "Music" scene, dialogue and listening, attention to scenic languages and overcome them, and the distance between the character and the creative self ...
In these terms, the Commedia dell'Arte, far from being a competent "child" in the balance between folklore and museum, can be a fertile training ground and irreplaceable, knowledge and achievements of today's personalized for the actor and tomorrow.
preceded and accompanied by a preliminary work of mobilizing extra-ordinary body and supported by appropriate measures Protection of muscle and tendon, the course program includes:
- an exploration of the postures and body language of some of the main "characters" of the Commedia dell'Arte reconstructed from the Experimental School of the Actor: Zanni, Pantalone, Balanzone, Harlequin , love is love, Captain, trouser, Pulcinella;
- design elements and management of voice entry of individual characters;
- techniques of composition and training on sign language and body of the characters;
- studies in choreography and vision choreography "of the stage;
- basics of improvisation and composition examples of short snippets of footage on stage.
- principles of use of the facemask.