We are very happy to announce the return of Gennady Bogdanov, master of Meyerhold’s Biomechanics for the workshop: Introduction to Meyerhold’s Biomechanics organized by our company Pas de Dieux that will take place:

WORKSHOP:

INTRODUCTION TO MEYERHOLD’S BIOMECHANICS 

PARIS
December 9 to 13, 2019

Monday to Friday – 10am to 1pm

Micadanses – Studio MayB

Total: 15h

Price: 233 €

Special discount for all former students of Pas de Dieux Company and students from French or foreign universities.

For more information, contact Leela Alaniz by email: leela(at)pasdedieux.com

 

Workshop: Introduction to Meyerhold’s Biomechanics

During the workshop, we will explore the physical techniques of Biomechanics, a plastic play system created by Meyerhold that provides the actor the necessary tools to re-educate his reflexes; collaborating to move away his daily and mechanical movements; to build characters through a psychophysical approach; to play in a state of deeper concentration and thus master the scenic play.

WORKSHOP PROGRAM

• Warm up
• Work on rhythm – the “inner musicality”
• Work on the principles of Biomechanics, according to Meyerhold, natural and fundamental elements of the gesture, such as:
• Otkaz (the refusal): a counter-movement that serves both to prepare the action and to give the signal to the stage partner indicating that the actor is ready to react.
• Pacil (sending): the simultaneous commitment to the action and the action itself.
• Tormos (the brake): the constraint that the actor must simultaneously exercise with the force ahead of the pacil in order to maintain control.
• Totcbka (a point in space, the point at the end of the body sentence) or stoïca (posture). They indicate the culmination of an action at a specific point in space.

Location :

Micadanses
Studio May B
15 rue Geoffroy L’Asnier, 75004 Paris
Metro, Saint Paul (line 1) or
Pont Marie (line 7)

FOR MORE INFORMATION:
By Phone : Won KIM
+33 (0) 6 71 61 93 94

By e-mail: Leela ALANIZ
leela(at)pasdedieux.com

The Pas de Dieux Company is proud to announce that the Intercultural Theatre Institute, Singapore, is now conducting auditions in PARIS for a three-year professional diploma in Intercultural Theatre (Acting).

Deadline for applications: June 30, 2017
The programme begins: January 2018

Auditions: Paris, July 2017

For more information concerning the auditions
By email: leela@pasdedieux.com

Online Application: http://form.jotform.me/form/51392747413457

Download Application Form: http://iti.edu.sg/wp-content/uploads/2017/02/Application-Form2018.docx

Enrolment Information: http://iti.edu.sg/admissions

To visit ITI website: http://iti.edu.sg

Facebook: https://www.facebook.com/ITIsg

Professional Diploma in Intercultural Theatre (Acting)
Five Reasons to choose ITI

Quality Theatre Education Unlike Any Other
Distinctive, intercultural training modules that include four traditional Asian art forms, paratheatre skills and cross-cultural peer experience with cohorts who hail from over 16 countries.

Globally Renowned Faculty
Train under the most respected names in specialised theatre fields and learn from master-teachers of Wayang Wong, Kutiyattam, Noh theatre and Beijing opera in a small student-to-teacher ratio setting.

Professional Performance Experience
The varied modes of learning in ITI culminate in your final year with public performances, where you will work with acclaimed theatre directors as well as professional artistic and production teams.

Connections to an acclaimed alumni network
ITI’s impact goes beyond your graduation. Our worldwide award-winning alumni network from 16 countries have collaborated on projects and work platforms and continue to do so. Be a part of this growing interconnection.

Continual Creative Work
100% of our graduates stay in the creative sectors post-ITI. They contribute to the cultural landscape in significant ways everywhere – as artistic directors, directors, teachers and lecturers, actors in film and on stage, as researchers and more. You will too.

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“Nowhere else is there a programme like this, which incorporates traditional training from world cultures, and instils a contemporary sensitivity and mission.”

Stan Lai, directeur artistique, Performance Workshop, Taïwan

Intercultural Theatre Institute (ITI) was founded in 2000 by acclaimed dramatist Kuo Pao Kun and current Director T. Sasitharan.  This is a unique, three-year, full-time professional training programme for actors in contemporary intercultural theatre. It immerses students in traditional theatre forms from Asia, and juxtaposes these intense interactions with both Stanislavskian and post-Stanislavkian actor training techniques.

The programme features the following modalities:

• Four Asian Traditional Theatre Forms include Beijing Opera, Kutiyattam – an ancient Sanskrit theatre form, Wayang Wong – a traditional Javanese court dance and Noh Theatre – major form of classical Japanese musical drama
• Acting, Voice & Speech, Movement, Technical Theatre, Taiji and Humanities

Click to see the video https://www.youtube.com/watch?v=XLl8oivx–o

Applicant requirements:

• Be above 18 years of age
• Have a GCE ‘A’ Level certificate, or equivalent cultural literacy
Note: Graduates from colleges, polytechnics and universities, as well as current theatre practitioners are welcome to apply
• Demonstrate artistic talent and ability, maturity and commitment, at audition(s), interview(s) and in a written assessment
• Be proficient in English. This means a GCE ‘O’ Level pass in English, or its equivalent, or a pass (score 50% or higher) in an English Proficiency Test, administered at the time of the audition.

This workshop focuses on the development of the actor/dancer physical presence through Leela Alaniz’s method, derived from her 15 years of research and training with actors. This work is based, first, on exercises from The Organic Lineage of Jerzy Grotowski, second, on the Corporeal Mime technique of Etienne Decroux, and finally, on the meeting of these two methods so as to develop the creative autonomy of the actor/dancer.

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. 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 work developed with rigor by Leela Alaniz responds to the understanding of one’s self by listening to the impulses, by the abandonment of stereotypical attitudes and systems, by the exploration of new ways of the body movement and by the discovery and respect for the inherent organicity of this body.

 

Training Program :

• 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
• Corporeal Mime – Technique Etienne Decroux – articulations, counterweights, dynamo-rhythm, intra-corporeal and inter-spatial causalities.
• Alexander Technique – relaxation and liberation of the articulations
• Voice – corporeal resonators, text and singing
• Improvisations, play

This workshop is open to all actors, dancers, musicians, puppeteers, professionals or amateurs.

 

Instructors : 

Leela Alaniz

Co-director of Cie Pas de Dieux, doctor in Theatre Studies at Sorbonne Nouvelle Paris III University, she conducted her dissertation entitled: “The Thinker Body, the Dancer Mind – The Actor in his Quest for the Lost Unity”, under the direction of Monsieur Georges Banu in 2014 and will published very soon by the L’Entretemps Ed., Paris. Leela Alaniz’s career consists of a constant round-trip movement between the practice and the theory of theater. With over 20 years of research in Theatre Anthropology in addition to 16 years of Corporeal Mime practice, she continues to teach many workshops and gives conferences in disparate countries and regions such as Brazil, France, Singapore, United Kingdom, Spain, Belgium, and Argentina.

After a double major in Physical Education and Theater Studies in Brazil, she received a scholarship grant to participate in UTA, a center of research for Theatre Anthropology in Brazil. In 1994, she founded and directed Casa de Artes BAKA, a multicultural arts center, for her direction and management she received the coveted SATED prize.

From 1997 to 2003, she studied Corporeal Mime under Thomas Leabhart in California and Paris, eventually becoming his assistant. In 2002, she went to France and undertook a Masters in Theatre Studies at the Paris VIII University. Her Master thesis on “The Dynamo-Rhythm of Etienne Decroux and His Successors” has been translated into English and published online in “Mime Journal”, Ed Pomona College (California), 2013, (for free download go to : http://scholarship.claremont.edu/mimejournal/vol24/iss1/2

Leela was a full time professor of Movement for Acting and Performance at Intercultural Theatre Institute (ITI) in Singapore from 2012 to 2014. Leela has played and directed several plays during the last 25 years.

 

CALENDAR :

October 3 to 14, 2016
Hours: Monday to Friday – 9am to 12 Noon
Total: 30 hours / 290 €

Funding possibilities available through AFDAS (French nationals only). Contact us for more information.

Location:

Micadanses
15, 20 rue Geoffroy l’Asnier, 75004, Paris
Studio May B and Noces

For More Information:

By Phone : +33 (0) 7 50 46 40 62
By email : Leela ALANIZ leela(at)pasdedieux.com

Exploration of the body-in-motion through Kalaripayattu (traditional South Indian Martial Arts form).

How the training of Kalaripayattu leads to the embodiment of physical awareness of an actor. Investigating ‘the point of resonance’ that is akin to ‘presence’. Through this investigation, the actor develops a physical score that works on 5 basic rules of the body-in-space (soft fireworks). This active visceral response paired with the intellectually vivid physical vocabulary of Kalaripayattu retrained the actor’s body awakened to the creation of the body in performance (image-actions).

Topics addressed will be:

1. Exploration of the ideology of Kalaripayattu as a vehicle for the embodiment of physical awareness and breath-in-motion
2. Investigation of the heighten spine as a tool for the development of physical action
3. The exploration of the 5 poses in Kalaripayattu as an active visceral response to ‘awaken’ the actor’s body to the creation of the body in performance (image-actions).

Saturday, May 14 2016, 4pm

MICADANSES, room May B
15 rue Geoffroy l’Asnier, 75004, Paris

FREE ADMISSIONS with reservations

Master Class

The application of Kalaripayattu into ‘presence’ and physical actions

1. Introduction to the poses in Kalaripayyattu
2. Developing and alerting the participants to an animal-like kinaesthetic awareness
3. Application of training into creation work

Audience : actors and dancers

Saturday, May 14, 2016
From 5pm to 7pm

MICADANSES, room May B
15 rue Geoffroy l’Asnier, 75004, Paris

Cost : 25€ – with reservation (limited places)