[az_lightbox_video image=”6790″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”little_bounce” link_url=”https://vimeo.com/133689936″ title=”La Voie du Corps 2015 printemps présentation finale” gallery_name=”Our Videos”]

The Body’s Journey

Project of Training, Research, and Devising for actors/dancers/singers/musicians

[az_dropcap mode=”dropcap-color”]T[/az_dropcap]he project The Body’s Journey is the fruit of more than 20 years of experience of Leela Alaniz 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 Mimeof 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 materials, the acrobatics, the voice work (text and sing) 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.

This new edition of The Body’s Journey benefits from the valuable collaboration of experienced artists/masters including: Dominique Moaty, practical training of singing, corporeal conscious, and musical play; Jean-François Dusigne, practical training of speech and breathing, and the impulses of text;  Won Kim, practical training on play and improvisation.

Lectures-demonstrations enrich the conceptual understanding of the practical work and thus, we have invited specific teachers who come from diverse horizons:  Gilberto Icle (Brazil) presents a Lecture on the Study of Presence and a practical training based on his book: From movement to the theatrical stage: techniques developed from popular Brazilian culture; Elizabeth de Roza (Singapore) presents a Lecture/Demonstration on Kalarippayattu – Technique and Artistic Creation; Won Kim presents a Lecture/Demonstration on The Counterweights of Etienne Decroux in the Contemporary World; Jesser de Souza (Brazil), Lecture/Demonstration: The Training Technique of the Actor; and Serge Troude presents a Lecture on the The Gurdjieff’s Teachings Today.

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Training Program

 

Practice – with Leela Alaniz

  • 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, vocal improvisations, text
  • Improvisations, play
  • Compositions, structure
  • Final Project and Show

 

Practice – with Dominique Moaty

  • Singing, corporeal awareness and musical play

The relationship between movement and corporeal blockages will be explored through a series of physical exercizes in order to identify and overcome the obstacles that limit the freedom of the body.  The meditation and contempation are also integral aspect of the work.

 Practice – with Jean-François Dusigne

  • Breathing and the words, the impulses of the text

 

Practice – with Won Kim

  • Play and Improvisations

 

 

Lectures/Demonstrations with:

Gilberto Icle

  • Seminar:  The study on the presence

This lecture presents the Study on the Presence, highlighting the epistemological aspects for research on performance practices. It seeks to contextualize the research that gave rise to studies on presence, describing the Brazilian academic context in which it is emergent. This is to circumscribe the research on the analysis of the creative process by putting into perspective the connection between this process and the non-interpretative aspect of the research.

  • Lecture/Demonstration: From movement to the theatrical stage: techniques developed from popular Brazilian culture

This work concentrates on the study of movement as the principle means to which the actor can present himself on stage. It requires developing the figures and characteristics of certain legends of the South of Brazil such as the Salamanca do Jarau (a Moorish princess); Anhangá-Pitã (a demon created from the natural surroundings); the Boitatá (an enormous and mythical serpent). These figures are represented in the physical training exercises of rhythm, energy and movement. Then, these techniques are applied to trick the senses and to avoid the clichés. From the study of these figures, the actor can, through an organic process, discover the possibility of creating personal compositions that will be worked in their dimensions of the fine arts, the body and semantics. The work’s objective is to experiment the entire range of expressive possibilities of the actor and of the dancer for the stage. It is aimed to build a personal repertory inspired from certain elements of the diversity of Brazilian culture. The goal is to utilize these studies for other creative approaches of the contemporary performance art developed from popular Brazilian culture.

 

Elizabeth de Roza

  • Lecture/demonstration: Kalarippayattu – technique and artistic creation

How the training (esp that 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).

 

Won Kim

  • Lecture/Demonstration: The Counterweights of Etienne Decroux in the Contemporary World

Through the optic of three existential levels: the physical, the technical, and the poetic, the study of the decrousien Counterweight presents the possibility of going beyond the illustrative representation and the illusion with the practical understanding of poetic counterweights not only for the art of corporeal mime, but across all corporeal activities related to sports, performing arts, and political resistance. 

 

Jesser de Souza

Company LUME, Brazil http://www.lumeteatro.com.br

Conference-Demonstration : The physical and vocal training of the actor 

Presentation based the work of practice types, or the training techniques of the actors of the Brazilian Theatre company, LUME:

 

  • investigation of the construction of the extra-quotidian energy and stage presence;
  • la dilatation de ces mêmes énergies à la fois dans le temps et dans l’espace ;
  • the dilation of these same energies in time and in space together;
  • the management of the energetic flux in and beyond the physical body;
  • vocal resonators of work;
  • the creation of characters through Mimesis Corporel.

 

Serge Troude 

  • Lecture: The Gurdjieff’s Teachings Today

A historical retrospective on the career of research and teaching of Georges Ivanovitch Gurdjieff (1877-1949), who had a profound knowledge of Eastern ritual practices for the development of presence and then his desire to develop and adapt then that they could be used to contemporary man.

CALENDAR :

Monday, March 7 to Thurday, May 26, 2016  

Hours: Monday to Friday – 9am to 1pm

Rehearsals for Final Show: May 23 to 26, 2016

Final Show: May 26, 2016 at 11:30am 

Total : 240 hours / 20h per week 

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APPLICATIONS :

Deadline: February 22, 2016

To apply, please send your CV and a cover letter to Leela Alaniz

Funding possibilities available through AFDAS (French nationals only).

For foreign applications for the selection process an interview with Leela Alaniz will take place personally or by telephone/skype.

Contact us for more information.

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Location:

Micadanses
15 Rue Geoffroy l’Asnier, salle MayB
75004 Paris

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CONTACT :

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

[az_social_profile email=”mailto:leela@pasdedieux.com” facebook=”https://www.facebook.com/pasdedieux” skype=”http://myskype.info/leelalaniz”][az_blank_divider height_value=”60″]

TEACHERS

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[accordion title=”Leela Alaniz” id=”acc-1″]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. 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

The past three years, Leela has been a professor at ITI – Intercultural Theatre Institute in Singapore.

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[accordion title=”Won Kim” id=”acc-1″]Ph.D. in Esthetics, Sciences, and Technologies of Arts, Paris 8 University. With Korean origins and American nationality, Won Kim discovered quite early the importance of intercultural research between Asian and Occidental cultures. Since 2002, after eight years in the corporate marketing, he has decided to dedicate his life to the learning of physical theatre with Thomas Leabhart and Leela Alaniz. He has played a dual role as actor and co-founder/producer of the company Pas de Dieux with Leela Alaniz. He has also assisted Leela in the development of her own method of actor/dancer training based on the influences of Etienne Decroux and Jerzy Grotowski, in the production of workshops and the development of the full-time training program, The Body’s Journey. In September 2014, he has earned his Ph.D. in Esthetics, Sciences, and Technologies of Arts with Summa Cum Laude at Paris 8 University. His dissertation is entitled, “Corporeal Mime Counterweights in the Contemporary World,” directed by Katia Légeret. He is also an assistant professor at Paris 8 University teaching courses related to mime and physical theatre.

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[accordion title=”Dominique Moaty” id=”acc-1″]Getting her feet wet with musicals, Dominique Moaty has perfected the Baroque style under the tuteledge of William Christie and Philippe Herreweghe, as well as singing with recording with various ensembles such as l’Ensemble Sagittarius, l’Ensemble Fuoco e Cenere…

She has created numerous contemporary works (for Jean-Yves Bosseur, Jean-Baptiste Devillers, Ivan Belloq…), including the France Musique’s TV program “Alla Breve”.  She has also her personal side projects: the creation of her own works, as well as directing recitals.  Baroque music rests as her preferred expertise.  She teaches lyrical singing at the Conservatoire à Rayonnement Régional d’Aubervilliers-La Courneuve as well as la Maîtrise de Radio France.  She is also an instructor at the Pôle d’enseignement supérieur de la Musique 93.

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[accordion title=”Jean-François Dusigne” id=”acc-1″]Professor in performing arts, theatre, ethnoscenology at Paris 8 University. Actor, teacher and director. As an actor, has most notably been a member of the Théâtre du Soleil. Since 1999, he is the artistic co-director of ARTA – Association of research of actor traditions. He is also a sophrologist, specializing in “relaxation and anxiety – managing stage fright”.

In 2015, he has been awarded the prestigious chevalier de l’ordre des Arts et des Lettres, prize in arts and literature. Since 2011, he is in charge of the project Labex Arts-H2H “the process of transmission and exchange in directing actors”.

He is has authored many books among which are : Le théâtre d’art, aventure européenne du xxe siècle ; L’acteur naissant, la passion du jeu ; et Les Passeurs d’expérience, ARTA, école internationale de l’acteur, published by Éditions Théâtrales. He has conceived and coordinated an anthology La direction d’acteurs peut-elle s’apprendre ?, published by the éditions, Les Solitaires intempestifs, 2015.

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[accordion title=”Elizabeth de Roza” id=”acc-1″]is a director, a multi-disciplinary performance artist, creative collaborator and theatre academic based in Singapore. Her work draws from contemporary performance practices on notions of hybridity, interactivity, cross-disciplinary art and collaboration. Her training in performance-making, draws from traditional Asian theatrical training/performing methods, martial arts (kalaripayattu) and contemporary art practices. She has been commissioned and invited to present her works at various international contemporary arts festival. Her research in developing cross-cultural and cross-disciplinary performance and performance methodology has been presented at conferences and workshops and seen her collaborating with various international performance groups such as Theatre of the disturbed (Myanmar 2010 & 2012) and Teatro Kalipatos (Mexico 2012).  She is the Artistic Director of a physical/sensory performance research group TheatreStrays, creating intimate, sensorial, physical, inter-medial, non-linear performance in un-conventional spaces.  She is currently pursuing her Phd at Goldsmiths University in cross-cultural performance practices and is a full-time lecturer at Lasalle College of the Arts, School of Theatre and Dance in the Faculty of Performing Arts.

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[accordion title=”Gilberto Icle” id=”acc-1″]Ph.D. in Education from the Universidade Federal do Rio Grande do Sul (UFRGS), where he is Professor at Post-graduation of Education Program, where he coordinates and the Study Group in Education, Theatre and Performance (GETEPE-UFRGS). He also coordinates the UTA – Usina do Trabalho do Ator, group of research and artistic creation. He is also editor of the Revista Brasileira de Estudos da Presenca (UFRGS), Brazil.

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[accordion title=”Jesser de Souza” id=”acc-1″]Brazilian director, actor-researcher, clown and teacher of the company LUME, Brazil since 1993. He has started to work professionally in theatre in 1981 in Sao Paulo, at Theatre-School Macunaíma and afterwards at CPT – Center of Theatre Research of SESC, directed by Antunes Filho. Graduated in 1993 in Theatre Arts at the UNICAMP University, Brazil.

With LUME, he has played in many shows and has toured extensively in Brazil as well as abroad. In addition to his artistic activities, teachings and research with LUME, he is also an invited professor to collaborate with Teaterhøjskolen Rødkilde, Denmark, where he teaches each year.

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[accordion title=”Serge Troude” id=”acc-1″]French, president of the Gurdjieff Institute in Paris, he has worked with Michel de Salzmann and has more than 10 years experience representing the successors of G. I. Gurdjieff throughout the world. Mr. Troude works with the teachings of Gurdjieff for nearly 30 years.

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[az_lightbox_image image=”6735″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”move_up” title=”La Voie du Corps” gallery_name=”La Voie du Corps”][az_lightbox_image image=”6747″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”move_up” title=”La Voie du Corps” gallery_name=”La Voie du Corps”][az_lightbox_image image=”6721″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”move_up” title=”La Voie du Corps” gallery_name=”La Voie du Corps”][az_lightbox_image image=”6727″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”move_up” title=”La Voie du Corps” gallery_name=”La Voie du Corps”][az_lightbox_image image=”6777″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”move_up” title=”La Voie du Corps” gallery_name=”La Voie du Corps”][az_lightbox_image image=”6749″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”move_up” title=”La Voie du Corps” gallery_name=”La Voie du Corps”][az_lightbox_image image=”6806″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”move_up” title=”La Voie du Corps” gallery_name=”La Voie du Corps”][az_lightbox_image image=”6802″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”move_up” title=”La Voie du Corps” gallery_name=”La Voie du Corps”][az_lightbox_image image=”6800″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”move_up” title=”La Voie du Corps” gallery_name=”La Voie du Corps”][az_lightbox_image image=”6812″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”move_up” title=”La Voie du Corps” gallery_name=”La Voie du Corps”]
[az_lightbox_image image=”6759″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”move_up” title=”La Voie du Corps” gallery_name=”La Voie du Corps”][az_lightbox_image image=”6810″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”move_up” title=”La Voie du Corps” gallery_name=”La Voie du Corps”][az_lightbox_image image=”6719″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”move_up” title=”La Voie du Corps” gallery_name=”La Voie du Corps”][az_lightbox_image image=”6731″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”move_up” title=”La Voie du Corps” gallery_name=”La Voie du Corps”][az_lightbox_image image=”6723″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”move_up” title=”La Voie du Corps” gallery_name=”La Voie du Corps”][az_lightbox_image image=”6715″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”move_up” title=”La Voie du Corps” gallery_name=”La Voie du Corps”][az_lightbox_image image=”6709″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”move_up” title=”La Voie du Corps” gallery_name=”La Voie du Corps”][az_lightbox_image image=”6745″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”move_up” title=”La Voie du Corps” gallery_name=”La Voie du Corps”][az_lightbox_image image=”6705″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”move_up” title=”La Voie du Corps” gallery_name=”La Voie du Corps”]
[az_lightbox_video image=”6790″ imgmode=”responsiveimg” animation_loading=”yes” animation_loading_effects=”little_bounce” link_url=”https://vimeo.com/133689936″ title=”La Voie du Corps 2015 printemps présentation finale” gallery_name=”Our Videos”]

The Body’s Journey

Project of Training, Research, and Devising for actors/dancers/singers/musicians

[az_dropcap mode=”dropcap-color”]T[/az_dropcap]he project The Body’s Journey is the fruit of more than 20 years of experience of Leela Alaniz 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 Mimeof 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 materials, the acrobatics, the voice work (text and sing) 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.

This new edition of The Body’s Journey benefits from the valuable collaboration of experienced artists/masters including: Dominique Moaty, practical training of singing, corporeal conscious, and musical play; Jean-François Dusigne, practical training of speech and breathing, and the impulses of text;  Won Kim, practical training on play and improvisation.

Lectures-demonstrations enrich the conceptual understanding of the practical work and thus, we have invited specific teachers who come from diverse horizons:  Gilberto Icle (Brazil) presents a Lecture on the Study of Presence and a practical training based on his book: From movement to the theatrical stage: techniques developed from popular Brazilian culture; Elizabeth de Roza (Singapore) presents a Lecture/Demonstration on Kalarippayattu – Technique and Artistic Creation; Won Kim presents a Lecture/Demonstration on The Counterweights of Etienne Decroux in the Contemporary World; Jesser de Souza (Brazil), Lecture/Demonstration: The Training Technique of the Actor; and Serge Troude presents a Lecture on the The Gurdjieff’s Teachings Today.

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Training Program

 

Practice – with Leela Alaniz

  • 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, vocal improvisations, text
  • Improvisations, play
  • Compositions, structure
  • Final Project and Show

 

Practice – with Dominique Moaty

  • Singing, corporeal awareness and musical play

The relationship between movement and corporeal blockages will be explored through a series of physical exercizes in order to identify and overcome the obstacles that limit the freedom of the body.  The meditation and contempation are also integral aspect of the work.

 Practice – with Jean-François Dusigne

  • Breathing and the words, the impulses of the text

 

Practice – with Won Kim

  • Play and Improvisations

 

 

Lectures/Demonstrations with:

Gilberto Icle

  • Seminar:  The study on the presence

This lecture presents the Study on the Presence, highlighting the epistemological aspects for research on performance practices. It seeks to contextualize the research that gave rise to studies on presence, describing the Brazilian academic context in which it is emergent. This is to circumscribe the research on the analysis of the creative process by putting into perspective the connection between this process and the non-interpretative aspect of the research.

  • Lecture/Demonstration: From movement to the theatrical stage: techniques developed from popular Brazilian culture

This work concentrates on the study of movement as the principle means to which the actor can present himself on stage. It requires developing the figures and characteristics of certain legends of the South of Brazil such as the Salamanca do Jarau (a Moorish princess); Anhangá-Pitã (a demon created from the natural surroundings); the Boitatá (an enormous and mythical serpent). These figures are represented in the physical training exercises of rhythm, energy and movement. Then, these techniques are applied to trick the senses and to avoid the clichés. From the study of these figures, the actor can, through an organic process, discover the possibility of creating personal compositions that will be worked in their dimensions of the fine arts, the body and semantics. The work’s objective is to experiment the entire range of expressive possibilities of the actor and of the dancer for the stage. It is aimed to build a personal repertory inspired from certain elements of the diversity of Brazilian culture. The goal is to utilize these studies for other creative approaches of the contemporary performance art developed from popular Brazilian culture.

 

Elizabeth de Roza

  • Lecture/demonstration: Kalarippayattu – technique and artistic creation

How the training (esp that 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).

 

Won Kim

  • Lecture/Demonstration: The Counterweights of Etienne Decroux in the Contemporary World

Through the optic of three existential levels: the physical, the technical, and the poetic, the study of the decrousien Counterweight presents the possibility of going beyond the illustrative representation and the illusion with the practical understanding of poetic counterweights not only for the art of corporeal mime, but across all corporeal activities related to sports, performing arts, and political resistance. 

 

Jesser de Souza

Company LUME, Brazil http://www.lumeteatro.com.br

Conference-Demonstration : The physical and vocal training of the actor 

Presentation based the work of practice types, or the training techniques of the actors of the Brazilian Theatre company, LUME:

 

  • investigation of the construction of the extra-quotidian energy and stage presence;
  • la dilatation de ces mêmes énergies à la fois dans le temps et dans l’espace ;
  • the dilation of these same energies in time and in space together;
  • the management of the energetic flux in and beyond the physical body;
  • vocal resonators of work;
  • the creation of characters through Mimesis Corporel.

 

Serge Troude 

  • Lecture: The Gurdjieff’s Teachings Today

A historical retrospective on the career of research and teaching of Georges Ivanovitch Gurdjieff (1877-1949), who had a profound knowledge of Eastern ritual practices for the development of presence and then his desire to develop and adapt then that they could be used to contemporary man.

CALENDAR :

Monday, March 7 to Thurday, May 26, 2016  

Hours: Monday to Friday – 9am to 1pm

Rehearsals for Final Show: May 23 to 26, 2016

Final Show: May 26, 2016 at 11:30am 

Total : 240 hours / 20h per week 

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APPLICATIONS :

Deadline: February 22, 2016

To apply, please send your CV and a cover letter to Leela Alaniz

Funding possibilities available through AFDAS (French nationals only).

For foreign applications for the selection process an interview with Leela Alaniz will take place personally or by telephone/skype.

Contact us for more information.

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Location:

Micadanses
15 Rue Geoffroy l’Asnier, salle MayB
75004 Paris

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CONTACT :

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

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TEACHERS

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[accordion title=”Leela Alaniz” id=”acc-1″]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. 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

The past three years, Leela has been a professor at ITI – Intercultural Theatre Institute in Singapore.

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[accordion title=”Won Kim” id=”acc-1″]Ph.D. in Esthetics, Sciences, and Technologies of Arts, Paris 8 University. With Korean origins and American nationality, Won Kim discovered quite early the importance of intercultural research between Asian and Occidental cultures. Since 2002, after eight years in the corporate marketing, he has decided to dedicate his life to the learning of physical theatre with Thomas Leabhart and Leela Alaniz. He has played a dual role as actor and co-founder/producer of the company Pas de Dieux with Leela Alaniz. He has also assisted Leela in the development of her own method of actor/dancer training based on the influences of Etienne Decroux and Jerzy Grotowski, in the production of workshops and the development of the full-time training program, The Body’s Journey. In September 2014, he has earned his Ph.D. in Esthetics, Sciences, and Technologies of Arts with Summa Cum Laude at Paris 8 University. His dissertation is entitled, “Corporeal Mime Counterweights in the Contemporary World,” directed by Katia Légeret. He is also an assistant professor at Paris 8 University teaching courses related to mime and physical theatre.

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[accordion title=”Dominique Moaty” id=”acc-1″]Getting her feet wet with musicals, Dominique Moaty has perfected the Baroque style under the tuteledge of William Christie and Philippe Herreweghe, as well as singing with recording with various ensembles such as l’Ensemble Sagittarius, l’Ensemble Fuoco e Cenere…

She has created numerous contemporary works (for Jean-Yves Bosseur, Jean-Baptiste Devillers, Ivan Belloq…), including the France Musique’s TV program “Alla Breve”.  She has also her personal side projects: the creation of her own works, as well as directing recitals.  Baroque music rests as her preferred expertise.  She teaches lyrical singing at the Conservatoire à Rayonnement Régional d’Aubervilliers-La Courneuve as well as la Maîtrise de Radio France.  She is also an instructor at the Pôle d’enseignement supérieur de la Musique 93.

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[accordion title=”Jean-François Dusigne” id=”acc-1″]Professor in performing arts, theatre, ethnoscenology at Paris 8 University. Actor, teacher and director. As an actor, has most notably been a member of the Théâtre du Soleil. Since 1999, he is the artistic co-director of ARTA – Association of research of actor traditions. He is also a sophrologist, specializing in “relaxation and anxiety – managing stage fright”.

In 2015, he has been awarded the prestigious chevalier de l’ordre des Arts et des Lettres, prize in arts and literature. Since 2011, he is in charge of the project Labex Arts-H2H “the process of transmission and exchange in directing actors”.

He is has authored many books among which are : Le théâtre d’art, aventure européenne du xxe siècle ; L’acteur naissant, la passion du jeu ; et Les Passeurs d’expérience, ARTA, école internationale de l’acteur, published by Éditions Théâtrales. He has conceived and coordinated an anthology La direction d’acteurs peut-elle s’apprendre ?, published by the éditions, Les Solitaires intempestifs, 2015.

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[accordion title=”Elizabeth de Roza” id=”acc-1″]is a director, a multi-disciplinary performance artist, creative collaborator and theatre academic based in Singapore. Her work draws from contemporary performance practices on notions of hybridity, interactivity, cross-disciplinary art and collaboration. Her training in performance-making, draws from traditional Asian theatrical training/performing methods, martial arts (kalaripayattu) and contemporary art practices. She has been commissioned and invited to present her works at various international contemporary arts festival. Her research in developing cross-cultural and cross-disciplinary performance and performance methodology has been presented at conferences and workshops and seen her collaborating with various international performance groups such as Theatre of the disturbed (Myanmar 2010 & 2012) and Teatro Kalipatos (Mexico 2012).  She is the Artistic Director of a physical/sensory performance research group TheatreStrays, creating intimate, sensorial, physical, inter-medial, non-linear performance in un-conventional spaces.  She is currently pursuing her Phd at Goldsmiths University in cross-cultural performance practices and is a full-time lecturer at Lasalle College of the Arts, School of Theatre and Dance in the Faculty of Performing Arts.

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[accordion title=”Gilberto Icle” id=”acc-1″]Ph.D. in Education from the Universidade Federal do Rio Grande do Sul (UFRGS), where he is Professor at Post-graduation of Education Program, where he coordinates and the Study Group in Education, Theatre and Performance (GETEPE-UFRGS). He also coordinates the UTA – Usina do Trabalho do Ator, group of research and artistic creation. He is also editor of the Revista Brasileira de Estudos da Presenca (UFRGS), Brazil.

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[accordion title=”Jesser de Souza” id=”acc-1″]Brazilian director, actor-researcher, clown and teacher of the company LUME, Brazil since 1993. He has started to work professionally in theatre in 1981 in Sao Paulo, at Theatre-School Macunaíma and afterwards at CPT – Center of Theatre Research of SESC, directed by Antunes Filho. Graduated in 1993 in Theatre Arts at the UNICAMP University, Brazil.

With LUME, he has played in many shows and has toured extensively in Brazil as well as abroad. In addition to his artistic activities, teachings and research with LUME, he is also an invited professor to collaborate with Teaterhøjskolen Rødkilde, Denmark, where he teaches each year.

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[accordion title=”Serge Troude” id=”acc-1″]French, president of the Gurdjieff Institute in Paris, he has worked with Michel de Salzmann and has more than 10 years experience representing the successors of G. I. Gurdjieff throughout the world. Mr. Troude works with the teachings of Gurdjieff for nearly 30 years.

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