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Stage Living Stage | "The scream, the text and the physical impulse" | Visual © David Noir

The scream, the text and the physical impulse

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Stage Scène Vivante | "The cry, the text and the physical impulse" | Photo © David Noir
Stage Scène Vivante | "The cry, the text and the physical impulse" | Photo © David Noir

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

Description

It is not so easy to produce a free cry at first, an unrestrained cry, authentic enough for it to find its natural place in the voice without skinning the throat. There is no question here of circumventing the cry by means of a clever arrangement of the song. It is the animal cry, the hoarse cry or the unpredictable sound that can come from deep within.

Why should we be concerned about it and give it the space of a whole day of training? Because it can be an emotional prerequisite for a simpler, cruder, more direct speech.

At its opposite extreme: the articulated text, the expression of a reasoned intelligence.

The aim of bringing them together is not to make them confront each other, but for these two states of expression to take advantage of each other in order to give more flexibility to an oral communication that is usually severely categorized.

The howl does not only belong to the wolf and the excited crowd. It is also the vector of jubilation, complaint, pleasure, anger of the individual... but undoubtedly also, of more subtle and unspeakable nuances of feelings within which words can be inscribed like blocks of rock carried for a time by the lava that the volcano vomits before dissolving in it.

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This Post Has One Comment

  1. Didier Julius

    What I retain from this workshop is the experience of an approach to the stage that brings out of oneself an essential actor/actress acting and acting outside of all mentalization. The mind has no place in the cry, it is one or the other. There is no possible emulsion. The mind disturbs the cry and stretches the vocal cords. The mind that insinuates itself into the process is a bit of a turn-off. There is no room for calculation or "analytical understanding" of what is happening. This cry is not painful, it is obvious.
    The energy of this unadulterated cry becomes the basis of a simple, dense, direct material to be modelled in order to draw out the emotion, the movement of the stage form. The essence of a subversive scenic expression because in the demonstration of the evidence of an animality, outside the social framework, which inhabits each one. The essence of a living theatre, that is to say the expression and exhibition of human chaos, whatever the style and the pretext.
    The text, the words that come on top as the icing on the cake, not as the essential. The human / "humanimal" underneath that predominates.
    And the energy of the cry that remains in the silence
    In the end, it's simple.
    Thanks to David and the participants for a few intense hours.

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