The Body’s Journey
Project of Training, Research, and Devising for actors/dancers/musicians/singers/puppeteers
The 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 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 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:
Won Kim – Practice: Improvisation, Play
Gennady Bogdanov – Practice: Meyerhold Biomechanics
Lluis Graells – Practice: Commedia dell’Arte
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, singing, breath, impulsion and dynamo-rhythm for text,
- Improvisations, play
- Compositions, structure
—
Practice – with Gennady Gogdanov
Meyerhold Biomechanics
We will explore the physical techniques of Biomechanics, a system of training 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.
- 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.
Practice – with Lluis Graells
Commedia dell’Arte
During the workshop, we will explore the masked characters of the Commedia Dell’Arte through the study of their walks, voices, and energies: Arlequin, Colombine, Dottore, Pantalon, Capitan, Zanni, Brighela. Each of these characters will be the object of a personalized work of each student. In this fixed form, in the “interior”, lies a large creative space that will be uncovered and will permit each actor to create his Arlequin, his Capitan, her Colombine…
Each day, improvisation will take its special place. We will study the codes of acting specific to the Commedia and to the mask, as well as the construction of the storylines. These participants will create the intrigues and mysteries by relying on the physical form and the social functions of their masked characters, based on their proper imagination and their relations tied to the characters.
- Semi-mask: movement techniques, lecture and study • Fixed Type, Type/Countertype, Style, Attributes
- Corporeal Schema of the Character and the Physical Transformation of the Actor
- Technical Limitations as a Source of Creation
- Improvisations as show
—
Practice – with Won KIM
- Improvisation, Play.
CALENDAR :
December 16, 2019 to February 29, 2020
Hours: Monday to Friday – 9am to 1pm
Atelier for Research on Thursdays – 2pm to 5pm
Relax on December 25th and January 1st
Presentation of the Artistic Projects that will be part of the Research: December 14, 2019.
Total: 192 hours / 23h per week
Price: 800€/monthly
APPLICATIONS :
Deadline: September 30, 2019
Auditions in Paris:
Saturday October 19, 2019 – (No prior preparation necessary, Free 3-hour practical workshop with Leela Alaniz)
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
Location:
Micadanses
15 Rue Geoffroy l’Asnier,
75004 Paris
CONTACT :
By phone : Won KIM, +33 (0) 6 71 61 93 94
By email : Leela Alaniz, leela(at)pasdedieux.com
Cie. Pas de Dieux
166 Bis rue de la Roquette, 75011, Paris
N° de SIRET : 491 955 704 00029 / Code APE: 9001Z
N° d’Activité: 11754611575
Teachers
Leela Alaniz
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
Leela has just completed a Post-doctoral program at UFRGS University in Brazil. Currently, she is a guest teacher at ITI – Intercultural Theatre Institute in Singapore, https://iti.edu.sg/
Gennady Bogdanov
Won KIM
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.
Lluis Graells
Actor, director and theatre professor. Graduated in Direction and Dramaturgy at the l’Institut del Teatre of Barcelone. He worked with Pawel Rouba and Andrzej Leparski in mime and Pantomime, mask with Andrzej Leparski, Don Jordan y Roy Bosier, and Commedia dell’Arte with Carlo Boso and Ferruccio Soleri. 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 20 years at National and Regional Conservatories in Spain.
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Gennady Bogdanov
Gennady Nikolaevich Bogdanov graduated as an actor from Russian University of Theatre Arts (GITIS) in 1972. In the same year he joined the company of the Theatre of the Satire of Moscow where he worked as an actor for 20 years. At the same theatre, he became the student of Master Nikolai Kustov (actor and instructor of Theatrical Biomechanics, that worked with Meyerhold till 1938).
Inheritor of the tradition of the Theatrical Biomechanics of Meyerhold, a basis of his work in the theatre, Master Bogdanov has decided to dedicate his artistic life to Theatrical Biomechanics. Consequently, he has worked at the Russian University of Theatre Arts, first as a professor and then as a founder and director of International School of Theatrical Biomechanics.
Starting from 1990, Master Bogdanov has dedicated his life to the propagation of Theatrical Biomechanics all over the world through demonstrations, conferences and workshops (Austria, Australia, Brazil, Belgium, Canada, Croatia, Denmark, France, Wales, Germany, England, Italy, Netherlands, Poland, Serbia, Singapore, Spain, Sweden, Switzerland, USA, etc).
Since 1991, he has collaborated with the Mime Centrum of Berlin and with the Drama School Ernst Busch.
Since 1996, he has collaborated with ISTA (International School of Theatre Anthropology) directed by Eugenio Barba, with “Jerzy Grotowski and Thomas Richards Workcentre” of Wrozlaw and Pontedera.
As a director, he has worked in Italy, USA, Germany, France, England and Russia.
In Italy, he has started teaching Theatrical Biomechanics of Meyerhold since 1991, working with (among others): Academy of Dramatic Art “Silvio d’Amico”, the Teatro Tascabile of Bergamo, CUT of Perugia and Milan, the “La Sapienza” University of Rome, the University of Siena\Arezzo and the Experimental School of the Actor of Pordenone.
Since 2004, he is founder and pedagogical director of the International Centre of Theatrical Biomechanics of Perugia.
Vsevolod Meyerhold (1874-1940)
Meyerhold was an actor, director, also a creator of a method for actors, the biomechanics, a rich physical training that opens the possibilities of actor’s play and scenic direction. After studying at the School of Dramatic and Musical Arts of the Moscow Philharmonic Society, he was invited to join the troupe of the Moscow Art Theater and worked there between 1897 and 1902, under the direction of Constantin Stanislavski and Vladimir Nemirovich-Danchenko. He then embarked on his own research.
Afterwards, he moved farther and farther away from the Naturalistic Theater or Theater of Mood, whose fundamental principle was that of the exact representation of life.
In Russia, Meyerhold was the initiator of the awareness of the importance of the body in the work of the actor. Where, until then, the emotion took up too much space. This interest in the body led his research into a mechanical/organic universe rather than a search for emotion.
WORKSHOP: Introduction to Meyerhold’s Biomechanics
During the workshop, we will explore the physical techniques of Biomechanics, a fine art system of play created by Meyerhold that provides the actor the necessary tools to re-educate his reflexes; collaborating to move away from 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.
NEXT WORKSHOP WITH GENNADY BORGANOV:
Introduction to Meyerhold’s Biomechanics
PARIS,
December 9 to 13, 2019
Monday to Friday – 10am to 1pm
Total: 15h
Price: 233 €
Special discount for all former students of Pas de Dieux Company and students from French or foreign universities.
Location :
Micadanses
Studio May B
15 rue Geoffroy L’Asnier, Studio May B, 75014 Paris
Metro, Saint Paul (ligne 1) or Pont Marie (ligne 7)
FOR MORE INFORMATON:
By phone : Won KIM
+33 (0) 6 71 61 93 94
By email : Leela ALANIZ
leela(at)pasdedieux.com
VIDEOS
Photos
The Body’s Journey
Project of Training, Research, and Devising for actors/dancers/musicians/singers/puppeteers
The 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 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 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:
Gennady Bogdanov – Practice: Meyerhold Biomechanics
Serge Troude – Lecture: The Gurdjieff’s Teachings Today
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, singing, breath, impulsion and dynamo-rhythm for text,
- Improvisations, play
- Compositions, structure
—
Practice – with Gennady Gogdanov
Meyerhold Biomechanics
We will explore the physical techniques of Biomechanics, a system of training 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.
- 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.
—
Practice – with Won KIM
Improvisation, Play.
—
Theory – with 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 :
Septembre 9 to Novembre 29, 2019
Hours: Monday to Friday – 9am to 12pm
Total: 180 hours / 15h per week
Price: 420€/monthly – 3 months (12 weeks)
AUDITIONS :
Paris, Saturdays June 29 or July 13 (No prior preparation necessary, Free 3-hour practical workshop with Leela Alaniz).
APPLICATIONS :
Deadline: June 15, 2019
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
Location:
Micadanses
15 Rue Geoffroy l’Asnier,
75004 Paris
CONTACT :
By phone : Won KIM, +33 (0) 6 71 61 93 94
By email : Leela Alaniz, leela(at)pasdedieux.com
Cie. Pas de Dieux
166 Bis rue de la Roquette, 75011, Paris
N° de SIRET : 491 955 704 00029 / Code APE: 9001Z
N° d’Activité: 11754611575
Teachers
Leela Alaniz
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
Leela has just completed a Post-doctoral program at UFRGS University in Brazil. Currently, she is a guest teacher at ITI – Intercultural Theatre Institute in Singapore, https://iti.edu.sg/
Gennady Bogdanov
Won KIM
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.
Serge Troude
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. https://www.gurdjieff.fr/
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Lluis Graells
Actor, director and theatre professor. Graduated in Direction and Dramaturgy at the l’Institut del Teatre of Barcelone. He worked with Pawel Rouba and Andrzej Leparski in mime and Pantomime, mask with Andrzej Leparski, Don Jordan y Roy Bosier, and Commedia dell’Arte with Carlo Boso and Ferruccio Soleri. 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 20 years at National and Regional Conservatories in Spain.
The Body and the Masked Character of Commedia dell’Arte
During the workshop, we will explore the masked characters of the Commedia Dell’Arte through the study of their walks, voices, and energies: Arlequin, Colombine, Dottore, Pantalon, Capitan, Zanni, Brighela. Each of these characters will be the object of a personalized work of each student. In this fixed form, in the “interior”, lies a large creative space that will be uncovered and will permit each actor to create his Arlequin, his Capitan, her Colombine…
Each day, improvisation will take its special place. We will study the codes of acting specific to the Commedia and to the mask, as well as the construction of the storylines. These participants will create the intrigues and mysteries by relying on the physical form and the social functions of their masked characters, based on their proper imagination and their relations tied to the characters.
WORKSHOP PROGRAM
- Semi-mask: movement techniques, lecture and study • Fixed Type, Type/Countertype, Style, Attributes
- Corporeal Schema of the Character and the Physical Transformation of the Actor
- Technical Limitations as a Source of Creation
- Improvisations as show
NEXT Commedia dell’Arte WORKSHOP:
The Body and the Masked Character of Commedia dell’Arte
PARIS,
JULY 23 TO 27, 2018
From Monday to Friday
10am to 5pm
Total: 30 hours
Price: 260 €
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
Location :
Micadanses
15 rue Geoffroy L’Asnier, Studio May B, 75014 Paris
Metro, Saint Paul (ligne 1) or Pont Marie (ligne 7)
FOR MORE INFORMATON:
By phone : Won KIM
+33 (0) 6 71 61 93 94
By email : Leela ALANIZ
leela(at)pasdedieux.com
Photos of Paris Workshop - July 2018
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William Fisher
William Fisher was a student and assistant of Etienne Decroux from 1980-1983. He has continued to devise work while working in academia. He has held appointments and taught workshops at the Marcel Marceau School, California Institute of the Arts, University of California in Irvine, UNC Chapel Hill, MKFM Pula, CDU / Imaginary Academy Grožnijan, Croatian Academy of Drama Arts, Zagreb and Theatre Academy London. For 19 years, William was head of the Theatre Performance Program and then Director of the School of Theater at Ohio University. He is currently Professor of Theatre at Butler University where he teaches performance, directing and devised theatre.
His essay, Struggle and Irony / Ashes and Flames was included in Words on Decroux, edited by Thomas Leabhart, 1994. In 1998, William began training with Anne Bogart and SITI Company and maintains a relationship to that work and company.
Founder and artistic director of Zeta Collective in San Francisco and Los Angeles 1985-1991, William’s work as a director has been presented at Zeta Collective, Los Angeles Contemporary Exhibitions (LACE), The Dubrovnik Festival, The Vienna Theatre Festival, and Kampnagel (Hamburg). He was 2009 Fulbright Fellow at the Iceland Academy of the Arts in the Theatre Department Theory and Practice Program. In August of 2017 William returned to the Borgarleikhúsið (City Theatre, Reykjavik) to direct a staged reading of Small Lives / Big Dreams by SITI Company. He is translating and preparing the text into French for production.
Solo Training / Ensemble Playing.
Open for practitioners of any experience level. This intensive workshop will build on a base of foundational Decroux technique (solfege, walks, counterweights). We will examine the intersection of the working lexicons of Dramatic Corporeal Mime and Viewpoints training the relationship between whole body listening /responsiveness and purposeful behavior in training and practice, the dynamic opposition between control and spontaneity, and structured improvisational processes for instant ensemble and collective composition for the stage. The use of short text may be incorporated into the workshop.
CONFERENCE/DEMONSTRATION:
PARIS,
May 5, 2018
Saturday, 2pm
Studio Biped – Micadanses
FREE ADMISSION
with reservation
NEXT WORKSHOP:
“Solo Training / Ensemble Playing. “
PARIS,
May 12 and 13, 2018
Saturday 12: 1pm – 7pm
Sunday 13: 10am to 1pm and 3pm to 6pm
Total : 12 hours
Price: 150 €
Location :
Micadanses: Studios May B, Biped, Noces
15, 16, et 20 rue Geoffroy L’Asnier, 75014 Paris
Metro, Saint Paul (ligne 1) or Pont Marie (ligne 7)
FOR MORE INFORMATON:
By phone : Won KIM
+33 (0) 6 71 61 93 94
By email : Leela ALANIZ
leela(at)pasdedieux.com
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Thomas Leabhart
Student of Etienne Decroux from 1968 – 1972, served as his teaching assistant and translator. In addition to his regular teaching at Pomona College in California, Leabhart often gives workshops in Europe and Japan, and collaborated with Eugenio Barba in ISTA (International School of Theatre Anthropology) for more than a decade. He performs and teaches regularly in France, and has performed and taught workshops at the Museum of Design in Zurich, The Austrian Theatre Museum in Vienna, the National Museum of Ethnology in Osaka, the American Center in Montevideo, Movement Theatre International in Philadelphia, and many other venues. Editor of Mime Journal, he has authored more than thirty articles and Modern and Post Modern Mime (Macmillan in London and St. Martin’s Press, NYC, 1989) and Etienne Decroux, Routledge Performance Practitioners (Routledge Press 2007).
The Corporeal Mime of Etienne Decroux
Developed by Etienne Decroux, Corporeal Mime stems from the theatrical experiments of the early 20th century (Appia, Craig, and Copeau). Its objective is to place drama inside the moving body, rather than to substitute gesture for speech as in pantomime. Both sculptor and statue, the mime must apply to movement the principles that are at the heart of drama: pause, hesitation, weight, resistance, and surprise.
THE CREATIVE PROCESS: FROM THE ORDINARY TO THE EXTRAORDINARY
Etienne Decroux asked his students to create new compositions, arranging ordinary movements—rotations, inclinations, and translations—into extraordinary combinations, phrasing quotidian movements in unexpected and captivating ways.
Our workshop guides the actor from first simple articulations through a creative process that finishes with a short composition.
WORKSHOP WILL INCLUDE
• Warm up / Movement Explorations
• Corporeal Mime Technique: scales, counterweights, dynamo-rhythm, figures of style, walks
• Improvisations
• New compositions
• Tea Time: Stories and Metaphors
NEXT LECTURE-DEMONSTRATION AND MASTER CLASS
“The Creative Process: From the Ordinary to the Extraordinary.”
Thursday December 29, 2016
Lecture/Demonstration: 6pm – FREE ADMISSION
Master Class 7pm to 9pm – 25€
The participants of the workshop may attend the Master Class for free.
Studio May B, MICADANSES
NEXT CORPOREAL MIME WORKSHOP
PARIS, JANUARY 2 TO 13, 2017
From Monday to Friday
9am to 1pm
Total : 40hours / 330 €
Possibility of AFDAS funding (French Citizens Only).
Former students of Pas de Dieux are eligible for a 15% reduction
Location :
Micadanses
15 rue Geoffroy L’Asnier, Studio May B, 75014 Paris
Metro, Saint Paul (ligne 1) ou Pont Marie (ligne 7)
FOR MORE INFORMATON:
By phone : Won KIM
+33 (0) 6 71 61 93 94
By email : Leela ALANIZ
leela(at)pasdedieux.com
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The Body’s Journey
Project of Training, Research, and Devising for actors/dancers/singers/musicians
The 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.
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
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.
Location:
Micadanses
15 Rue Geoffroy l’Asnier, salle MayB
75004 Paris
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
Teachers
Leela Alaniz
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.
Won Kim
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.
Dominique Moaty
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.
Jean-François Dusigne
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.
Elizabeth de Roza
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.
Gilberto Icle
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.
Jesser de Souza
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.
Serge Troude
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.
images
The Body’s Journey
Project of Training, Research, and Devising for actors/dancers/singers/musicians
The 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.
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
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.
Location:
Micadanses
15 Rue Geoffroy l’Asnier, salle MayB
75004 Paris
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
Teachers
Leela Alaniz
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.
Won Kim
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.
Dominique Moaty
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.
Jean-François Dusigne
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.
Elizabeth de Roza
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.
Gilberto Icle
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.
Jesser de Souza
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.
Serge Troude
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.
images
Snail Dream
Work-in-progress
What would the world be like if we can see like a snail? It’s curious antennaes, which are actually its eyes, reach out to the world and quickly retract in seeing how cruel and ugly it can be. It is very sensitive and can easily be crushed and eaten. It lives in direct contrast to the economic values that model our society and business which are based on faster, farther, and cheaper. It has nothing to compete against. It’s race is just to survive. It’s accomplishments are just moving to a better leaf and a cooler shade. We may mock it as lazy and stupid, but look closer and we see that it is constantly moving, constantly searching, and constantly feeling.
My life as an artist is like this snail. I am 42 years old and this is my first solo. From an outside perspective, I am moving pathetically slow. However, I have been so busy. But accomplishing what? My mother wants to know. So, I guess this is my opportunity to show and to share of a bit of a journey of this snail.
Show written and produced by Won KIM
Music Credits:
Freddie Knop “Nathan”
Shigeru Umebayashi “Yumeji’s Theme”
Poster and Artwork: Federico Sancho
Past Dates
Saturday
September 26, 2015
Centre Culturel Pouya
48 bis Quai de Jemmapes
75010 Paris
7pm
Show + Diner
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Photos by Jemina Boraccino
Don Qui
Is based on vocal and corporeal experimentations. Inspired by Miguel de Cervantes’ Don Quixote, the show portrays the process of inspiration and imagination of Cervantes as a fictitious character in the process of creation. The conception of the characters Don Quixote, Dulcinea, Sancho Panza, and others is based on the ontology of each actor. The result is a confluence of multiple cultures: French, Brazilian, Korean-American, Japanese, and Catalan.
The text used in the show is a Japanese children’s song that has been transformed into invented dialogues, in which the significance of the original text loses its original meaning and is recontextualized through vocal and physical actions to communicate the actor’s dramatic intentions.
Only the character of Cervantes, who intermittently appears, speaks in French and delivers to the spectators the playful poetry based in the original text.
Behind the scenes
“The terrain without a road and thus, all is a road…this land without direction leads everywhere without leading exactly to nowhere…”
-Benito Pérez Galdós
INFO
Duration : 01h00
General Audience
Author and Director: Leela ALANIZ
Actors: Yuka FUKUSHIMA, Cyril DESCOURS, Sergi EMILIANO, Won KIM
Actors who also played in versions of Don Qui: Caroline LETAC, Ayuko YONEMURA, Sajeev PURUSHOTHAMA
Music: François BLAIGNAN
Lighting: Paul DIVEL
Costumes: Lara PERBELLINI
Set Design: Elia DAVID
Photo Credits: Martin ACB, Ndembo Ziavoula, Agnès Delachair, Iñigo Lopez
PRODUCTION PARTNERS
University Paris 8
University Paris 3
University Paris 7
CROUS Creteil
PRESS ARTICLES
8 Press Articles from FESTIVAL D’AVIGNON OFF 2008 (French)
Articles from 10 city ARGENTINA TOUR 2007(Spanish)
Eric de Sarria, Company Philippe Genty (French)
Bruno Devismes (French)
Morgan Faligot, Le Souffleur (French)
Eupener Land (German)
Tour
Théatre du Lierre
Paris, France, January 28 to February 1, 2009
FESTIVAL Mostra d’Arts Gestuals i del Moviment d’Esparreguera
Esparreguera, Espagne, 04 octobre, 2008
FESTIVAL AVIGNON OFF, théâtre Gilgamesh
Avignon, France, July 10 to August 1, 2008
FESTIVAL de Théâtre à Eupen
Eupen, Belgium, February 22 and 23, 2008
FESTIVAL Universo Teatro
Benevento, Italy, November19 to 24, 2007
Les Arènes de Nanterre
Nanterre, November 15 and 16, 2007
FESTIVAL SCÈNE OUVERTE
Université de Nantes
Nantes, France, May 5, 2007
FESTIVAL RITU
Rencontres Internationales de Théâtre Universitaire
Liège, Belgium, February 26 to March 4, 2007
Centre d’Animation les Halles le Marais
Paris, January 16 and 19, 2007
FESTIVAL COS de mim i teatre gestual
Reus, Barcelone, Spain October 27, 2006
INTERNATIONAL FESTIVALS in Argentina 2006
Tour of 10 theater festivals
Selected by the Instituto Nacional del Teatro, Argentina
Rio Gallegos–October 22, Ushuaia–October 20, Rosario–October14, Corrientes–October 12, Salta–October 10, Tucuman–October 8, Catamarca–October 7, Santiago del Estero–Octobre 6, Córdoba–October 4, Mendoza–October 1
XIX FESTIVAL DEL SUR TRES CONTINENTES
Municipal Theater of Agüimes
Agüimes, Canary Islands, Spain, July 17, 2006
Bienal Internacional de Teatro de ACTOR – BITA
Theater Auditorium of Cuenca, Cuenca, Spain, June16, 2006
FESTUPIC
Municipal Theater of Compiègne, France, June 1, 2006
FESTIVAL SCENES OUVERTES
Paris X University, Nanterre, France, May 16, 2006
FESTIVAL MIME EN MAI
Jardin Luxembourg, Paris, May 6,7,and 8, 2006
Festival ACTHEA
Municipal Theater of Albi, France, April 28, 2006
Festival Ici et Demain
Amphi 24, Paris 7 University, Paris, March 9 and 10, 2006
Amphi X, Université Paris 8
Saint-Denis, France, February 28, 2006
Jury Selection 2006 for a 10 festival tour in Argentina
-Instituto Nacional del Teatro, Argentina
Finalist Paris Prix Jeunes Talents 2006
-City of Paris
Winner BEST SHOW 2006
-Festival ACTHEA, Albi, France
BEST ACTOR 2006, Sergi Emiliano
Festival ACTHEA, Albi, France
Winner Jury Prize 2006, Performing Arts Category
-Festival Ici et Demain, City of Paris
