Individual and group lessons | Game management | Courses and workshops
Theatre ► Improvisation ► Performance
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.
The stages are a gateway to the stage.
They bring the keys to the notion of gambling.
Living Stage | Stage
"The cry, the text and the physical impulse
It's alive!
Contact
SMS
Summer Body Workshops
A consciousness and a body: nudity and performance under the sun. Eight workshop sessions devoted to the body exhibited through performance.
Totally naked
Some objectives of the " Totally Naked " workshop: Risking oneself in a body bath. Allow yourself the freedom to stay there. Tranquilize your fear. To confront desire.
Of the truth of men
A day of participatory naked or dressed performance led by David Noir, to try to bring a little truth to the game, if not to life.
Ballad post "Iconicum"
A walk backwards towards the birth of a collective improvisation based on the participatory performance Iconicum given to the Generator.
Everything has to go.
"Everything must go" is intended to make its participants perceive this total eclipse of self-confidence that makes the interpreter in true research.
Iconicum
The principle of the "Iconicum" workshop is to improvise from compositions reconstituted live from master paintings or photographs.
Look away
"Looking elsewhere" is the very principle of theatre, without which it would be impossible to play a situation that clashes with our codes and morals.
Performance
In this performance workshop, it is a question of being totally actor and fully spectator, artist, everyday individual as well as researcher.
The scream, the text and the physical impulse
It is not easy to produce a free scream, authentic enough to find its natural place in the voice and without scratching the throat.
Mixing of genres
The mixture of natures that shape us and the contradictions that knead us are the guiding threads of this day of training.
Improvise freely
Starting from almost nothing, learning to improvise freely allows one to extend the playful potential of each individual to the dimensions of his or her own imagination.
Inventing an identity
Using various disguises, masks and accessories, this day-long workshop offers everyone the opportunity to develop a distinctive identity.
Play nude
Playing naked is in itself a speech. The aim of this workshop is to understand nudity as a relational, playful and scenic tool.
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.