Individual and group lessons | Game management | Courses and workshops

Theatre ► Improvisation ► Performance

Live Stage | Working Session | Improvisation Workshop | Visual © David Noir
Live Stage | Working Session | Improvisation Workshop | Visual © David Noir

Live Scene | Sample Session

During a work session, acting direction and guided improvisation are carried out simultaneously.

Formation Scène Vivante | David Noir | Classes, workshops, coaching | Theatre | Improvisation Method | Performance | Public Speaking | Visual © David Noir

Play training allows each individual to develop at its own pace

The variety of profiles and levels creates a common opportunity for training that is not locked into a dogma.

Anyone can experience and enjoy theatrical play and achieve very rewarding results by practicing through character creation.

In this page, you can read a detailed explanation of the steps and processes used to create characters during a Live Scene theatre or improvisation class.

Designing your creatures | Elaborating your characters

An ambitious yet accessible company

It is not necessary to have a certain level or to have taken other prior training to approach this program.

The method used in the training courses offered by Scène Vivante first of all uses the natural assets of the participants - their physical appearance and emotional intelligence - to support the development of their performance skills, before leading them to compose more from this material in a second phase.

Therefore, the practice is aimed at actors and actresses with professional experience as well as amateur artists and beginners.

A few stimuli such as: suggestions for situations, images, everyday accessories, extracts from texts of all kinds, sounds... presented beforehand or launched on the fly, are enough to anchor one's imagination in a referenced world. It is then a question of seizing it to instinctively develop one's game and one's state within the melee. Then the participants are led to work in small groups, in duo or alone. The themes tackled can be very diverse and most of the time are discovered at the last moment. 

This aspect of chance is an integral part of the sessions, whether it is within a training course, a course or a research workshop. It is constitutive of what is going to happen. Taking an interest in it allows us to grasp how much embodying it is a matter of stolen moments as much as of preparing for the occurrence of these precious unforeseen events. 

Courses open to all, all, without prior selection. It doesn't matter if you're passionate about drama, comédien.ne by profession or absolute beginner.

Living Scene | Benefits

It's alive!

Finding the right formula
Learning to play true again

The ultimate aim of such a process is to rediscover pleasure and the ability to improvise together the way we used to play as children when we still made little difference between our real life and the fantasy of being someone else.

A resolutely contemporary approach to the game

Scène Vivante puts its skills at the service of the most diverse needs of expression with the desire to provide relevant answers to the most varied requests.

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Creating your own representation | Flow of the steps

An essential tool: improvisation

The sessions begin with a first warm-up to become aware of the group. This is followed by another preparatory phase of collective improvisations, followed by brief moments of spontaneous creations by small groups of people. Classical and contemporary texts, cartoon dialogues, exchanges from internet forums, radio podcasts, political tracts, photographs, paintings, cinema scenes... everything that constitutes our societal, cultural and daily environment is likely to serve as a support and source of inspiration for our improvisations. Presence, voice, body, listening, addressing others, imagination and creativity are constantly solicited through this process.

 

From roles to characters

A role is not a character. Not yet, it isn't. It's just the assignment of speech to various situations on paper. It only acquires personality by becoming incarnate.

This is where the actor intervenes, giving flesh and blood and singularity to this virtual individual in the making that is the character. In other words, in the eyes of a spectator, the actor or actress who plays a role is immediately the character. It doesn't matter whether he or she likes it or not, whether he or she thinks the actor or actress is good or bad; it is through the person who has given life to a paper fantasy that he or she will perceive the actions of a fictional creature.

If you are the interpreter, it is your body and your gestures that it sees, your voice inflections that it hears, your gaze whose intentions it perceives. You are therefore the vector and the envelope of this character and at the same time, you have become him in the eyes of others.

"It's alive! "...could be exclaimed, as Dr. Frankenstein discovered the first steps of his creation. The character seems to be alive. All that's left is to be deeply and sincerely alive in your own eyes.

All the work is there: to accept yourself as one or another, whose breath only comes alive because it is connected to yours. On your vitality and your conviction in his existence depends his.

 

Learning to speak, learning to think, learning to keep quiet...

Thinking what you say is simply the first rule of acting. But also thinking what we don't say, that is to say being. To achieve this, one addresses oneself to the other: one's partners, the public, the universal conscience.

This sincere involvement is not that of the character, who himself can be perfectly hypocritical. It is a question of not mixing sources in order to succeed in playing: on the one hand a sensitive technician (the actor) who lends his emotions, his body and his brain; on the other hand, an imaginary creation (the character) grappling with situations that tell us about his life.

 

Playing the characters

The interest of a long-term training, with no other constraint for the pupil than to progress in his progress, is particularly in the depths reached during the work done. Session after session, it is thus possible to take one or more characters who have emerged at random from the improvisations, towards a deeper knowledge of themselves. In doing so, they become familiar to us.

This intimacy shared with this curious, sometimes unsuspected part of our being, is logically a natural and effective pedagogy in the field of theatre. Everything that seemed difficult or inaccessible becomes clearer and clearer little by little in the companionship of an imaginary double.

It is a process that children, without being aware of it, are particularly familiar with.

It just so happens that the doll we play with has our body and our features, even if they are sometimes grimed. But the functions remain the same.

When the disguise replaces the doll, the mirror breaks and we become one with the hero or heroine. We know her joys, her sorrows and her vision of the world; we anticipate her thoughts; we feel her feelings. Unfortunately, as we grow into adulthood, we put on costumes that are much more blurred in outline and much harder to remove once the game is over. If we want to distance ourselves from them, it seems to us that we have to tear off our own skin. Paradoxically, the theatre, the stage and its fictional characters offer the fantastic advantage of having the feeling of seeing a little more clearly for a few hours.

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