The Body’s Journey
The project The Body’s Journey is the fruit of more than 20 years of experience in the theatre field (training, university research, teaching, devising). It concentrates on the fusion of two contemporary techniques for the actor/dancer training: The Organic Lineage research initiated and developed by Jerzy Grotowski and then by Eugenio Barba and his collaborators (theatre anthropology); and the Corporeal Mime of Etienne Decroux. These different techniques find a commonplace in that they both develop through the actor/dancer the sense of scenic presence and autonomy as an author/performer/creator.
The exercises of the organic process liberate the energetic flux from the spinal column, and propagate to transform the physical body. The actor/dancer thus develops a concentration and identifies with his physical, emotional, and mental centers. Instead of searching for a specific expression, the actor/dancer plunges into a real process of organic research, which in turn becomes an artistic expression. The corporeal movements are initiated by impulses that are germinated from the interior of the body and develop within and throughout it. The research in theatre anthropology draws its inspiration from traditional theater from diverse parts of the world.
In the practice of Corporeal Mime, the actor/dancer finds the possibility of creating his or her own personal compositions in isolating different parts of the body, in mastering its articulations, and in playing with varying speeds, resistances and designs of corporeal movement.
The play and the joy of playing, and the improvisation are part of the listening and of the sharing. The research with puppets and materials, the acrobatics, the voice work, and the exercises of awareness and awakening the interior are also part of our training work, research and creation.
Our project, The Body’s Journey, will guide actors/dancers on a road to self-discovery in order to explore new corporeal paths through the listening of impulses, abandoning of stereotypical and mechanical behaviors, and through the discovery and the respect of a genuine organicity inherent in the body. A corporeal work conducted with attention and sensibility allows the actor/dancer to develop an original language capable of communicating to a larger audience and to cultivate openness to one’s self and to others, recovered through the artistic training of theatre and performance throughout the ages and across cultures.
Pratice – with Leela Alaniz assisted by Won Kim
• Exercises of the Organic Lineage – research of organicity, energetic flux, opening the blockages of the body, and of the release.
• Exercises of attention and interior awakening
• Stage Presence
• Acrobatics, Contact improvisation
• Corporeal Mime – Technique Etienne Decroux – articulations, counterweights, dynamo-rhythm, intra-corporeal and inter-spatial causalities.
• Alexander Technique – relaxation and liberation of the articulations
• Work with objects
• Voice – corporeal resonators, text
• Improvisations, play
• Compositions, structure
• Final Project – Presentation
Practice – with Eric de Sarria – Philippe Genty Company
The actor’s play and manipulation of marionettes and objects
Research involving the manipulation of marionettes and materials:
- Some basic principles of manipulation of carried marionettes (“Bunraku” style) and the differences when concerned with the manipulation of materials (paper, cloth, and clay).
- Disassociation, axes, impulses on one side, and conviction, concentration and personal memory on the other side.
- Work concerning the consciousness of being outside and inside the action, in the present and the past at the same time!
- Final Project – Devised presentation
Theory – with Marc Duvillier
A retrospective of the history of theater will be proposed through two conferences, in the perspective of the actor/dancer, creator and material of art:
• History of the body in theater.
• Historical perspective of three grand reformers: Edward Gordon Craig, Antonin Artaud, Etienne Decroux.
From May 5 to June 20 2014
Monday to Friday – 9am to 1pm
Preparation of Final Presentation: From 16 to 20 June 2014.
This week we will probably work full time (morning and afternoon)
Final Presentation: June 20, 2014
Total 170 Hours
15 Rue Geoffroy l’Asnier, salle MayB
By phone : Won KIM, +33 (0) 6 71 61 93 94
By email : Leela Alaniz, leela(at)pasdedieux.com
Cie. Pas de Dieux
148 rue du Faubourg Saint Denis, 75010, Paris
N° de SIRET : 491 955 704 00029 / Code APE: 923A
N° d’Activité: 11754611575
Eric de Sarria
Eric de Sarria started theatre with Vicky Messica at the Theatre Les Déchargeurs, and Philippe Genty. The first gave him the passion of the Verb, and the second that of the Image. With this double passion, he worked always as an actor, with the Unity Theatre and the Illustrious Burattini Family. While continuing his acting career, primarily with Philippe Genty, he directed in France and overseas with young students, fine artists, actors, and professional marionette artists. These collaborations have taken him to the four corners of the world: South Africa, Egypt, Russia, Norway, and France. In parallel, he assisted Philippe Genty in his workshops and creations (Boliloc, Ne M’oublie Pas). He conducts workshops in manipulation of marionettes, object and materials in France and overseas for professionals and amateurs as well as in school, in the lineage of work that follows the Philippe Genty company.
Actor, director, professor, and artistic director for the International Festival of Mime and Gestual Theater COS of Reus, Catalonia. Earned a diploma at the l’Institut del Teatre de Barcelone in 1989. He worked with Pawel Rouba and Andrzej Leparski in mime and Pantomime, mask with Andrzej Leparski, Don Jordan y Roy Bossier, and and Commedia dell’Arte with Carlo Boso and Ferruccio Solari. After having participated as an actor and director in numerous productions such as Brecht, Molière, Goldoni, to name a few, he has taught Commedia dell’Arte for over 15 years at National and Regional Conservatories in Spain.
Brazilian actor and director. Doctor in theater studies at the UFRGS University, Brazil. He has consecrated his thesis concerning the extra-quotidian conscious awareness of the actor. Currently, is a tenured professor at the same University. He is also the author of several books in Portuguese, Theater and Construction of the Knowledge; The Actor and the Shaman; Theater Studies as a Concern in Itself. Since 1992, he was a member of UTA, a center of theater research and creation where he presented several shows and organized workshops in Brazil and other foreign countries.
French, doctor in theater studies at the Paris III University, Sorbonne Nouvelle, he has dedicated his thesis to « The Mask (1908-1929) of Edward Gordon Craig » under the direction of monsieur Georges Banu. With Marion Chénetier-Alev and Didier Plassar, he participates in the bilingual critics’ edition of forty pieces for the marionettes of Craig, The Drama for Fools, editions L’Entretemps/Institut international de la marionette, March 2012. Marc is an assistant professor in theatre studies at the Paris III University – Sorbonne Nouvelle.