|
Size: 3285
Comment:
|
← Revision 4 as of 2008-06-26 10:00:46 ⇥
Size: 25
Comment: converted to 1.6 markup
|
| Deletions are marked like this. | Additions are marked like this. |
| Line 1: | Line 1: |
| In quanto persona fisica,l'attore possiede un corpo di sangue ed ossa il cui peso fisico e' controllato da forze fisiche, possiede esperienze sensoriali di cio' che accade entro e fuori il suo corpo, e,del pari,sentimenti,desideri,aspirazioni,ma come strumento artistico,tuttavia,l'attore consiste _almeno per il pubblico_ soltanto di cio' che di lui si puo' vedere. Le sue proprieta' e le sue azioni sono implicitamente definite da come appare e da cosa compie. Un peso di cento chili sulla bilancia non sara' avvertito dal pubblico ,se sembrara' che egli abbia la leggerezza di una libellula , i suoi turbamenti sono limitati a cio' che appare dai suoi gesti e dalla sua posizioni.(R.Arnheim) == workshop == During the days those taking part in the common work will be guided to learn ,organically, a training useful to develop the pre-expressive quality of the actor. This kind of phisical training don't take into consideration the sentiments of the actors,his identification with the character :we'll not walk in the direction of the "expression". The "pre-expressiveness",in the meaning explained by the theatrical antropology,is the necessary condition to any other following training,it's the starting line and as aim it have the intensification of the "stage life" of any kind of actor : to become a presence that conquer , cinesteticamente,the attention of the audience. Il Workshop sarà suddiviso in tre fasi. ''' Il programma dell'aspetto corporeo del workshop si adeguerà alla preparazione fisica dei partecipanti ed alla praticabilità del luogo di lavoro ''' == first phase :consciousness of the body/instrument == * development and extension of the own dynamic possibility * complete warm up(from the body as whole of segments to the body as a "opening" to the space) * basic elements taken from differents orientals theaters (Katha-Kali and Beijing Opera) * elements of pre-acrobatic * control , helpfulness and confidence of/into the body * dynamic use of the weight,lost of balance and fall * principle and basic elements of acrobatic (energetic flux) * dynamic interaction between the bodys (grips and common balance) == Second phase : from th Dynamic Expressiveness to the Static Neutrality == The dynamics and expressives possibilties of the body's moving centres will be explored analysing the "prossemica" qualitiy of the comunication : the grammar that regulate the distance between the people. The second phase of the work will finish with a re-composition of the differents centres that have as aim the construction of a neutal,static,posture : pre-espressivness condition necessary to the last phase of the work. * the centres of the body and the posture * "prossemica" analysis of the posture * the centre of the space : the body * the centre of the body : the stomach * neutral posture == Third phase: Neutral Dynamic ed Inter-action == * development of the perception skills * the dimensions of the space * the "add up" of the attentions * "cinestetica" relation between the bodies Si sperimenterà la dinamica del movimento neutro , la sua relazione con il ritmo e la conseguente possibilità espressiva ::::::::IN COSTRUZIONE::::::::::::: |
enter description here. |
enter description here.