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.
images
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/
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.
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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
The project The Body’s Journey is the fruit of more than 20 years of experience in the theatre field (training, university research, teaching, devising). It concentrates on the fusion of two contemporary techniques for the actor/dancer training: The Organic Lineage research initiated and developed by Jerzy Grotowski and then by Eugenio Barba and his collaborators (Theatre Anthropology); and the Corporeal Mime of Etienne Decroux. These different techniques find a commonplace in that they both develop through the actor/dancer the sense of scenic presence and autonomy as an author/performer/creator.
The exercises of the organic process liberate the energetic flux from the spinal column, and propagate to transform the physical body. The actor/dancer thus develops a concentration and identifies with his physical, emotional and mental centers. Instead of searching for a specific expression, the actor/dancer plunges into a real process of organic research, which in turn becomes an artistic expression. The corporeal movements are initiated by impulses that are germinated from the interior of the body and develop within and throughout it. The research in theatre anthropology draws its inspiration from traditional theater from diverse parts of the world.
In the practice of Corporeal Mime, the actor/dancer finds the possibility of creating his or her own personal compositions in isolating different parts of the body, in mastering its articulations, and in playing with varying speeds, resistances and designs of corporeal movement.
The play and the joy of playing, and the improvisation are part of the listening and of the sharing. The research with 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.
Program
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
Won Kim
• Improvisations, play
Dominique Moaty
• Singing
She proposes different techniques to facilitate the liberation of voice, combining improvisation with the work of resonance, articulation, breathing, and body awareness through musical play.
Lectures :
Leela Alaniz : The Fragmentation and the quest for the presence
Won Kim : The counterweights of Corporeal Mime in the contemporary world
CALENDER :
From October 5 to November 6, 2015
Monday to Friday – 9am to 1pm
On November 6, the personal devised pieces will be recorded on video so that each actor/dancer will have material to include into their video portfolio.
Total 100 Hours / 20hours a week (5 weeks)
APPLICATION PROCESS
To participate in the selection of actors/dancers/musicians (professionals and amateurs) for the Body’s Journey-Fall 2015, send your CV and a cover letter to Leela Alaniz before September 15, 2015.
We will then schedule an interview either by personal meeting, or by phone/Skype.
Location:
Micadanses
15 Rue Geoffroy l’Asnier, salle MayB
75004 Paris
CONTACT :
By email: Leela ALANIZ
leela(at)pasdedieux.com
By phone: +33 (0)7 50 46 40 62
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
Instructors
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. Her doctoral dissertation entitled: “The Thinker Body, the Dancer Mind – The Actor in his Quest for the Lost Unity”, under the direction of Monsieur Georges Banu, was defended at the University Sorbonne Nouvelle Paris III, 2014 and will published very soon by the L’Entretemps Ed., Paris.
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.
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.
images
The Body’s Journey
The project The Body’s Journey is the fruit of more than 20 years of experience in the theatre field (training, university research, teaching, devising). It concentrates on the fusion of two contemporary techniques for the actor/dancer training: The Organic Lineage research initiated and developed by Jerzy Grotowski and then by Eugenio Barba and his collaborators (Theatre Anthropology); and the Corporeal Mime of Etienne Decroux. These different techniques find a commonplace in that they both develop through the actor/dancer the sense of scenic presence and autonomy as an author/performer/creator.
The exercises of the organic process liberate the energetic flux from the spinal column, and propagate to transform the physical body. The actor/dancer thus develops a concentration and identifies with his physical, emotional and mental centers. Instead of searching for a specific expression, the actor/dancer plunges into a real process of organic research, which in turn becomes an artistic expression. The corporeal movements are initiated by impulses that are germinated from the interior of the body and develop within and throughout it. The research in theatre anthropology draws its inspiration from traditional theater from diverse parts of the world.
In the practice of Corporeal Mime, the actor/dancer finds the possibility of creating his or her own personal compositions in isolating different parts of the body, in mastering its articulations, and in playing with varying speeds, resistances and designs of corporeal movement.
The play and the joy of playing, and the improvisation are part of the listening and of the sharing. The research with 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.
The practical work of Evania Reichert and Sergio Veleda on the correlation between the physical blockages of the body and the living movement enriches this new version of The Body’s Journey, as well as theoretical seminars by Daniela Carmona and Adriano Basegio on rhythm and the actor’s play; Gilberto Icle on the study of presence; Won Kim on the play and the weight of the counterweight of the modern world; and on the teachings of Gurdjieff today Serge Troude.
Program
Pratice – with Leela Alaniz assisted by Won Kim
• Exercises of the Organic Lineage – research of organicity, energetic flux, opening the blockages of the body, and of the release.
• Exercises of attention and interior awakening
• Stage Presence
• Acrobatics, Contact improvisation
• Corporeal Mime – Technique Etienne Decroux – articulations, counterweights, dynamo-rhythm, intra-corporeal and inter-spatial causalities.
• Alexander Technique – relaxation and liberation of the articulations
• Work with objects
• Voice – corporeal resonators, text
• Improvisations, play
• Compositions, structure
• Final Project – Presentation
Practice – with Evania Reichet and Segio Veleda
Living Body, Contemplative Body
- The correlation between the physical blockages and the living movements is explored through a series of physical exercises in order to contact and release the obstacles for free movements of the body. Meditation and contemplation are also part of this work.
Theory:
Gilberto Icle: 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.
Daniela Carmona and Adriano Basegio: The Rhythm and the Actor’s Play – Space, Time and Composition
- The rhythm of the play. The body taken as an instrument of rhythm and sound origin of the drama. The dramatic sound quality and importance in creating climates, moods of the theater stage. Body percussion and with concrete objects, dance and elements of African and Brazilian rhythms in improvisation.
Won Kim: 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.
Serge Troude: 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.
CALENDER :
From March 2 to May 22 2015
Monday to Friday – 9am to 1pm
Thursday – 2pm to 5pm
Preparation of Final Presentation: From 18 to 22 May 2015.
Final Presentation: May 22, 2015
Total 288 Hours / 24hours a week
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
Invited Instructors
Evania Reichert and Sergio Veleda
Evania Reichert born in Brazil, she is a writer, professor of preventive in character education, psychophysical therapist (Wilhelm Reich approach) and co-director of the Vale do Ser School, Brazil. She is the author of the books “The Children, the sacred age” (Ed. Vale do Ser, Brazil, also published in Spain, Uruguay, Argentina and Colombia) and “SAT in education in the Amazon” (Ed. Eneasat Institute of Brazil). Sergio Veleda born in Brazil, is a writer, poet, contemplative arts teacher, psychophysical therapist (Wilhelm Reich approach) and co-director of the Vale do Ser School, Brazil. Author of the books “The Art of balance on an empty background” (Ed. Kalango, Brazil), and “I would believe only in a God that knows how to dance.” (Ed. Kalango, Brazil). Sergio is also a research in Sufi Tradition.
Gilberto Icle
Gilberto Icle docteur 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.
Serge Troude
Serge Troude, French, President of the Gurdjieff Institute in Paris, he worked with Michel de Salzmann and was more than 10 years the representative of the heirs of GI Gurdjieff worldwide. Mr. Troude works in Gurdjieff’s teaching for nearly three decades.
images
The Body’s Journey
The project The Body’s Journey is the fruit of more than 20 years of experience in the theatre field (training, university research, teaching, devising). It concentrates on the fusion of two contemporary techniques for the actor/dancer training: The Organic Lineage research initiated and developed by Jerzy Grotowski and then by Eugenio Barba and his collaborators (theatre anthropology); and the Corporeal Mime of Etienne Decroux. These different techniques find a commonplace in that they both develop through the actor/dancer the sense of scenic presence and autonomy as an author/performer/creator.
The exercises of the organic process liberate the energetic flux from the spinal column, and propagate to transform the physical body. The actor/dancer thus develops a concentration and identifies with his physical, emotional, and mental centers. Instead of searching for a specific expression, the actor/dancer plunges into a real process of organic research, which in turn becomes an artistic expression. The corporeal movements are initiated by impulses that are germinated from the interior of the body and develop within and throughout it. The research in theatre anthropology draws its inspiration from traditional theater from diverse parts of the world.
In the practice of Corporeal Mime, the actor/dancer finds the possibility of creating his or her own personal compositions in isolating different parts of the body, in mastering its articulations, and in playing with varying speeds, resistances and designs of corporeal movement.
The play and the joy of playing, and the improvisation are part of the listening and of the sharing. The research with puppets and materials, the acrobatics, the voice work, and the exercises of awareness and awakening the interior are also part of our training work, research and creation.
Our project, The Body’s Journey, will guide actors/dancers on a road to self-discovery in order to explore new corporeal paths through the listening of impulses, abandoning of stereotypical and mechanical behaviors, and through the discovery and the respect of a genuine organicity inherent in the body. A corporeal work conducted with attention and sensibility allows the actor/dancer to develop an original language capable of communicating to a larger audience and to cultivate openness to one’s self and to others, recovered through the artistic training of theatre and performance throughout the ages and across cultures.
Program
Pratice – with Leela Alaniz assisted by Won Kim
• Exercises of the Organic Lineage – research of organicity, energetic flux, opening the blockages of the body, and of the release.
• Exercises of attention and interior awakening
• Stage Presence
• Acrobatics, Contact improvisation
• Corporeal Mime – Technique Etienne Decroux – articulations, counterweights, dynamo-rhythm, intra-corporeal and inter-spatial causalities.
• Alexander Technique – relaxation and liberation of the articulations
• Work with objects
• Voice – corporeal resonators, text
• Improvisations, play
• Compositions, structure
• Final Project – Presentation
Practice – with Eric de Sarria – Philippe Genty Company
The actor’s play and manipulation of marionettes and objects
Research involving the manipulation of marionettes and materials:
- Some basic principles of manipulation of carried marionettes (“Bunraku” style) and the differences when concerned with the manipulation of materials (paper, cloth, and clay).
- Disassociation, axes, impulses on one side, and conviction, concentration and personal memory on the other side.
- Work concerning the consciousness of being outside and inside the action, in the present and the past at the same time!
- Final Project – Devised presentation
Theory – with Marc Duvillier
A retrospective of the history of theater will be proposed through two conferences, in the perspective of the actor/dancer, creator and material of art:
• History of the body in theater.
• Historical perspective of three grand reformers: Edward Gordon Craig, Antonin Artaud, Etienne Decroux.
CALENDER :
From May 5 to June 20 2014
Monday to Friday – 9am to 1pm
Preparation of Final Presentation: From 16 to 20 June 2014.
This week we will probably work full time (morning and afternoon)
Final Presentation: June 20, 2014
Total 170 Hours
APPLICATIONS :
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
INVITED INSTRUCTORS
Eric de Sarria
Eric de Sarria started theatre with Vicky Messica at the Theatre Les Déchargeurs, and Philippe Genty. The first gave him the passion of the Verb, and the second that of the Image. With this double passion, he worked always as an actor, with the Unity Theatre and the Illustrious Burattini Family. While continuing his acting career, primarily with Philippe Genty, he directed in France and overseas with young students, fine artists, actors, and professional marionette artists. These collaborations have taken him to the four corners of the world: South Africa, Egypt, Russia, Norway, and France. In parallel, he assisted Philippe Genty in his workshops and creations (Boliloc, Ne M’oublie Pas). He conducts workshops in manipulation of marionettes, object and materials in France and overseas for professionals and amateurs as well as in school, in the lineage of work that follows the Philippe Genty company.
Lluis Graells
Actor, director, professor, and artistic director for the International Festival of Mime and Gestual Theater COS of Reus, Catalonia. Earned a diploma at the l’Institut del Teatre de Barcelone in 1989. He worked with Pawel Rouba and Andrzej Leparski in mime and Pantomime, mask with Andrzej Leparski, Don Jordan y Roy Bossier, and and Commedia dell’Arte with Carlo Boso and Ferruccio Solari. After having participated as an actor and director in numerous productions such as Brecht, Molière, Goldoni, to name a few, he has taught Commedia dell’Arte for over 15 years at National and Regional Conservatories in Spain.
Gilberto Icle
Brazilian actor and director. Doctor in theater studies at the UFRGS University, Brazil. He has consecrated his thesis concerning the extra-quotidian conscious awareness of the actor. Currently, is a tenured professor at the same University. He is also the author of several books in Portuguese, Theater and Construction of the Knowledge; The Actor and the Shaman; Theater Studies as a Concern in Itself. Since 1992, he was a member of UTA, a center of theater research and creation where he presented several shows and organized workshops in Brazil and other foreign countries.
Marc Duvillier
French, doctor in theater studies at the Paris III University, Sorbonne Nouvelle, he has dedicated his thesis to « The Mask (1908-1929) of Edward Gordon Craig » under the direction of monsieur Georges Banu. With Marion Chénetier-Alev and Didier Plassar, he participates in the bilingual critics’ edition of forty pieces for the marionettes of Craig, The Drama for Fools, editions L’Entretemps/Institut international de la marionette, March 2012. Marc is an assistant professor in theatre studies at the Paris III University – Sorbonne Nouvelle.
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The Body’s Journey 2011-12
The project The Body’s Journey is the fruit of more than 20 years of experience in the theatre field (training, university research, teaching, devising). It concentrates on the fusion of two contemporary techniques for the actor/dancer training: The organic research initiated and developed by Jerzy Grotowski and then by Eugenio Barba and his collaborators (theatre anthropology) and the corporeal mime of Etienne Decroux. These different techniques find a commonplace in that they both develop through the actor/dancer the sense of scenic presence and the autonomy of the 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 exercises with objects, the masks, the acrobatics, the voice work and the exercises of awareness and awakening the interior are also part of our training work, research and creation.
Our project, The Body’s Journey, will guide actors/dancers on a road to self-discovery in order to explore new corporeal paths through the listening of impulses, abandoning of stereotypical and mechanical behaviors, and through the discovery and the respect of a genuine organicity inherent in the body. A corporeal work conducted with attention and sensibility allows the actor/dancer to develop an original language capable of communicating to a larger audience and to cultivate openness to one’s self and to others, recovered through the artistic training of theatre and performance throughout the ages and across cultures.
Program
Pratice – with Leela Alaniz
See Leela's Page- Exercises of the organic journey – 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.
- Creation of Characters through the body
- Alexander Technique – relaxation and liberation of the articulations
- Work with objects
- Voice – corporeal resonators, text
- Improvisations, play
- Compositions, structure
- Final Project – Presentation
The Body and the Mask – with Lluis Graells
- 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
- Improvisation as show
Composition Exercises – with Gilberto Icle
- Composition of the line of physical action; study of actions: plans, levels and details.
- Exercises to bring to the stage – Transformation of elements : character, designs, use of legs, use of hands; semantic study; improvisation and compositions both individually and collectively.
Theory – with Marc Duvillier
- History of the body in theater.
- Historical perspective of three grand experimentors: Edward Gordon Craig, Antonin Artaud, Etienne Decroux.
- To eliminate the frontiers between art and other activites in life: Robert Filliou, Chomo.
Class of 2011-12
We are proud to present the selected group of actors/dancers who have trained with the company Pas de Dieux for the project The Body’s Journey – training, research, and creation for three months, five days a week, 3 to 6 hours per day.
They come from 15 different countries : Argentina, Portugal, Taiwan, Canada, Italy, United States, Venezuela, England, Hong Kong, Brazil, France, Greece, Bolivia, Belgium, and South Korea on a quest to discover and share a new Journey of the Body.
They are:
Alex ACCORSSI, Dylan CORLAY, Flavia COUTO, Man Wai FOK, Adèle FRANTZ, Tara JAFFAR, Emma JASTER, Juliette KEMPF, Won KIM, Christina KOMI, Muriel LIU, Guy MARSAN, Teresa OVIDIO, Marta ROSA, Giusy PIGNOTTI, Pedro SIMONI, Estelle SORRIBAS, Diana TRUJILLO, Laure WERNLY
CALENDER :
Beginning of the trimester: Septembre 5, 2011
End of the trimester : December 2, 2011
From Monday to Friday, From 9am to 1pm
Creative Laboratory: Saturday From 9am to 2pm
Preparation of Final Presentation : From November 28 to December 2, 2011
Final Presentation: December 2 and 3, 2011, at 7pm
Total 300Hours – 25Hours/Week
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
Invited Instructors
Lluis Graells
Actor, director, professor, and artistic director for the International Festival of Mime and Gestual Theater COS of Reus, Catalonia. Earned a diploma at the l’Institut del Teatre de Barcelone in 1989. He worked with Pawel Rouba and Andrzej Leparski in mime and Pantomime, mask with Andrzej Leparski, Don Jordan y Roy Bossier, and and Commedia dell’Arte with Carlo Boso and Ferruccio Solari. After having participated as an actor and director in numerous productions such as Brecht, Molière, Goldoni, to name a few, he has taught Commedia dell’Arte for over 15 years at National and Regional Conservatories in Spain.
Gilberto Icle
Brazilian actor and director. Doctor in theater studies at the UFRGS University, Brazil. He has consecrated his thesis concerning the extra-quotidian conscious awareness of the actor. Currently, is a tenured professor at the same University. He is also the author of several books in Portuguese, Theater and Construction of the Knowledge; The Actor and the Shaman; Theater Studies as a Concern in Itself. Since 1992, he was a member of UTA, a center of theater research and creation where he presented several shows and organized workshops in Brazil and other foreign countries.
Marc Duvillier
Doctor in theater studies at the Paris 3 University, Sorbonne Nouvelle, he has dedicated his thesis to « The Mask (1908-1929) ». Currently, he is an Assistant Professor of Theater Studies at the Paris 3 University. A retrospective of the history of theater will be proposed through three conferences, in the perspective of the actor/dancer, creator and material of art: 1) History of the body in theater 2) Historical perspectives of three grand experimenters: Edward Gordon Craig, Antonin Artaud, Etienne Decroux 3) To eliminate the frontiers between art and the other activities of life: Robert Filliou, Chomo.
Project Presentation
The Body’s Journey 2010-11
The company Pas de Dieux, co-directed by Leela Alaniz and Won Kim, proposes a year of revitalizing creativity through the rediscovery of the body as a path of research and creation. In addition to the various technical workshops proposed throughout the year, the program also proposes theoretical reflection concerning the attitudes of the actor/dancer immersed in his work, therefore opening the possibility to create with the body, spirit and sentiments as a part of a continual work of self-discovery.
Throughout the 2010-11 year, the company Pas de Dieux will invite renowned artists engaged in the corporeal research for the actor/dancer:
Workshops
LEELA ALANIZ
Training: Dynamo-Rhythm for Actors/Dancers
The objective of the workshop is to research with the actor/dancer an interior body vibration for each movement, from the vigorous to the subtle. Dynamo/rhythm is a term created by Etienne Decroux to designate the infinite combinations of corporeal designs in conjunction with the speed, the force or the resistance of movements. Beyond the practice of Corporeal Mime, the work researches the possibilities of personal discoveries in order to create unique compositions.
October 25 to 29
10am – 5pm monday to friday
30h / 280€
Studio Philippe Genty, Paris
Thomas Leabhart
Corporeal Mime
Counterweights in the study of “The Washerwoman”
* “Back Exercises”
* Technique du Mime Corporel : gammes, contrepoids, dynamo-rythme, figures de style, marches
* Improvisation
* Nouvelles créations
November 22 to December 3
9am – 1pm monday to friday
40h / 340€
Studio Philippe Genty, Paris
Thomas Leabhart
Corporeal Mime
Counterweights in the study of “The Carpenter”
* “Back Exercises”
* Technique du Mime Corporel : gammes, contrepoids, dynamo-rythme, figures de style, marches
* Improvisation
* Nouvelles créations
December 5 to December 9
sunday 9am to 1pm
monday to thursday 9am – 5:30pm
35h / 320€
Studio Philippe Genty, Paris
Lluis Graells
The Body and the Mask
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.
April 4 to 8
9:30am – 5:30pm monday to friday
35h / 320€
Studio Philippe Genty, Paris
LEELA ALANIZ
Organicity and Structure in the work of the Actor/Dancer
The workshops focus on the encounters of two contemporary techniques for the actor/dancer: the organic research developed by Jerzy Grotowski, Eugenio Barba and his collaborators, and that of Corporeal Mime by Etienne Decroux. These techniques have as a point of convergence the same objective of developing the actor/dancer a stage presence and the autonomy as a creator.
The exercises of the organic processes free the energetic flux starting at the level of the spinal column that spreads beyond physicality of body; developing the attention and integration of the physical, emotional, and mental centers.
The Corporeal Mime isolates the different parts of the body, masters the articulations, and plays them with differing speeds, resistances, and designs of corporeal movement. The actor/dancer discovers the possibilities of creating personal compositions.
May 10 to 14
10am – 5pm tuesday to saturday
30h / 280€
Studio Philippe Genty, Paris
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The Body’s Journey 2009-10
The company Pas de Dieux, co-directed by Leela Alaniz and Won Kim, proposes a year of revitalizing creativity through the rediscovery of the body as a path of research and creation. In addition to the various technical workshops proposed throughout the year, the program also proposes theoretical reflection concerning the attitudes of the actor/dancer immersed in his work, therefore opening the possibility to create with the body, spirit and sentiments as a part of a continual work of self-discovery.
Throughout the 2009-10 year, the company Pas de Dieux will invite renowned artists engaged in the corporeal research for the actor/dancer:
Workshops
Thomas Leabhart
Corporeal Mime
* “Back Exercises”
* Technique du Mime Corporel : gammes, contrepoids, dynamo-rythme, figures de style, marches
* Improvisation
* Nouvelles créations
Janaury 4 to 8, 2010
Monday to Friday
9h-17h
35h / 280€
Studio Philippe Genty, Paris 11ème
Gilberto Icle
From movement to the theatrical stage: techniques developed from popular Brazilian culture
This workshop 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.
January 11 to 15, 2010
9h30 -13h monday to friday
35h / 180€
Studio Philippe Genty, Paris 11ème
LEELA ALANIZ
The Trees and the Wind – physical and vocal training for actors and dancers
The workshops focus on the encounters of two contemporary techniques for the actor/dancer: the organic research developed by Jerzy Grotowski, Eugenio Barba and his collaborators, and that of Corporeal Mime by Etienne Decroux. These techniques have as a point of convergence the same objective of developing the actor/dancer a stage presence and the autonomy as a creator. The exercises of the organic processes free the energetic flux starting at the level of the spinal column that spreads beyond physicality of body; developing the attention and integration of the physical, emotional, and mental centers. The Corporeal Mime isolates the different parts of the body, masters the articulations, and plays them with differing speeds, resistances, and designs of corporeal movement. The actor/dancer discovers the possibilities of creating personal compositions.
January 18 to 29
Monday to Friday
10h -13h
30h / 180€
Studio Philippe Genty, Paris 11ème
Haruna and Tatsushige Udaka, Kongô school of Kyoto, Japan
Physical Training of the Noh Theater – dance and chant
This workshop introduces the use of elements such as masks, costumes, instruments and gives an overall perspective to the method of Noh theatre through the basic KATA (dance pattern). Students will learn the Noh play ‘OIMATSU’ shimai (dance) and utai (chant). This is the Asian body training method using HARA (abdomen, or Tanden, center of the body), and the low center of gravity. Moreover, Shimai training will focus on walk, rhythm called JOHAKYU, and the expression with the minimum and limited movements. Noh theatre is composed with the very restricted elements, but somehow this situation can make expression very rich. Students will learn this formation of Noh through the actual body and verbal practice. The final performance of Shimai OIMATSU will take place during the last class.
February 2 to 6, 2010
9h30 -13h Tuesday to Friday
14h-17h Saturday
18h / 200€
Studio Philippe Genty, Paris 11ème
Matteo Belli, Italy
Acting with voice – corporeal resonators
Workshop consecrated to the study of spoken voice as an act of expression: the relation between the body and the voice allowing the development of a large and diversified palette of corporeal resonators. The series of exercises involve work based on the text considered rich and complex, to read vertically and horizontally in a research of qualities of tone, of sound, of rhythm, and of dynamic that is contained in each word, each syllable and each phenomenon.
February 8 to 19, 2010
9h30 -13h monday to friday
35h / 280€
Studio Philippe Genty, Paris 11ème
Leela Alaniz
Character – a corporeal approach
The objective of this workshop, at first, will be to discover the neutrality of the body, because each person posses a natural foundation that is unique. Afterwards, through the exercises of Theatre Anthropology, including organic research at the level of muscular vibrations and articulations and finally observation, the creation of three characters will be developed.
March 8 to 19, 2010
10h to 13h monday to friday
30h / 180€
Studio Philippe Genty, Paris 11ème
The Actor and the Mask 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 psyches of their masked characters, based on their proper imagination and their relations tied to the characters.
March 29 to April 2, 2010
9h30 -17h30 monday to friday
35h / 280€
Studio Philippe Genty, Paris 11ème
Corporeal Mime
Physical training for actors/dancers
The work developed with rigor by Leela Alaniz responds to the understanding of one’s self by listening to the impulses, by the abandonment of stereotypical attitudes and systems, by the exploration of new ways of the body, by the discovery and respect for the inherent organicity of this body. These elements are also present in the arts of the acrobatics, music, puppetry, as well as other performing arts.
April 12 to 30, 2010
Monday to Friday
10h -13h
45h / 240€
Studio Philippe Genty, Paris 11ème
Phillip Zarrilli
Psychophysical Training of the Actor: Making the body all eyes
“MAKING THE BODY ALL EYES”
Body, breath, activation and performance
This workshop introduces participants to a psychophysical paradigm and approach to awakening the actor’s bodymind for performance. It focuses on developing the contemporary actor’s interiority, i.e., how the performer discovers, awakens, shapes, understands, and deploys ‘energy’, awareness, focus/concentration, and feeling to the ‘matter’ of performance—the impulses, structure, contours, and texture of the tasks or actions that constitute a specific performance score shaped by particular dramaturgies.
May 3 to 7, 2010
10am to 5pm monday to friday
30h / 280€
Studio Philippe Genty, Paris 11ème
Leela Alaniz
Movement and directing
The workshop will focus on two axes : the creation of corporeal compositions derived from improvisations and the “directing” of these compositions.
Always based on the research work of autonomous creation of the actor/dancer and the relation between organicity and structure, the work proposes to participants to experiment the roles of the actor/dancer and the “director”. The later will collaborate with the former in the research process of poetic and esthetic creation.
The participants will therefore be invited to discover the responsibilities of the actor/dancer, of the “director”, and the audience, in the spirit of availability and of listening, of enrichment and of exchange, where the creation in itself is the center of the work.
June 7 to 18, 2010
10am to 1pm monday to friday
30h / 180€
Studio Philippe Genty, Paris 11ème
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