- Program 2018 -

Theatre only captivates, entertains and touches when actor and viewer stay in permanent contact with each other. Theater is always a „simplified world“, and yet it disappoints if the spectator cannot imagine the „whole world“ within.  The Academy aims to offer each participant a journey on which they can discover, examine, reflect and eventually expand their own capabilities.

The Workshop is held in English.

 

Workshop I. Performing

Two aspects of our theatre work are also central for the way the academy is run:

1. The performer/ author/ player

All our figures, scenes and plays are born out of a creative and formative impulse felt by the performer/author or the director/author. This impulse is very individual: hidden or dominant, fleeting or constant, intellectual or instinctive, random or planned. However, it is always necessary for collective creation, as it leads to a decision and „sets the ball running.“ The desire to embody, to transform, to recreate or reproduce something is an important stimulus for our entire process of creation. We do not hand out magic recipes; rather, we try to jointly develop a sense for where and how something vivid may emerge and prosper. The ensemble bears responsibility for creating a fertile work environment, the balance of order and chaos.

2. The mask

is a complex and yet simple instrument. Its inconsistencies stand for the paradox of theatre itself. The mask quickly leads us to the roots of theatre and its most important elements: rhythm - space - motion.

Figure and scene
Here, focus is placed on practical invention and investigation of a self-created figure: its core energy and its rhythm, its walk and its breath, its main character traits, the antagonist. Clarifying and strengthening the figure significantly enables one to find themes and scenes - also in relation to other figures. 

Mask and music
Rhythm, breath and emotion are basic elements of the mask, and these can be brought to a higher level and experienced more directly through interaction with music. We explore this connection in mask/ figure improvisations supported by music.

Play development
In what way does improvisation generate scenic material? How do I find a topic? How is a scene constructed? There is no recipe for the development of scenes or plays. The collective development process proves challenging for an ensemble each and every time. We will draw upon our experiences to give practical stimulations for the development of a figure and a scene, while also offering impulses towards creating own plays.

 

Workshop II. Building Masks

Participants build a self-designed paper maché mask throughout the course of the workshop.

As in the performing modul, the authorship of each participant remains central. Starting from a mould of the own face, the participants begin the search for an own form. They make decisions for a figure, carry out research to this end and develop the character right through to its translation into clay.

The entire creation process from modelled clay positive, on to negative master mould, coating and finishing of the mask is accompanied in supporting and discerning manner.

As the mask is supposed to come alive on stage later, different aspects and suggestions for designing the shape are conveyed in addition to the handicraft details of mask modelling. Topics will be: anatomy, asymmetry, the mask as a projection surface, figure, light.

 

Workshop I. and II.

Tuning movement/ senses/ space feelers
Energetic and organic movement training. The work focuses on the body’s support system as a key enabler towards other levels of spatial/ energetic awareness and to utmost sensitivity during intense physicality. Technical dance practice centered on kinesthetics rather than aesthetics will stimulate personal creative potential through improvisations.

Neutral mask
Rhythm, tension, space and imagination are decisive parameters for every performer. The neutral mask constitutes a very useful and instructional tool for re-experiencing, training and refining „embodiment.“