Individual and group lessons | Game management | Courses and workshops
Theatre ► Improvisation ► Performance
From almost nothing, from the simple fact of being, thinking, observing, hearing, reacting, learning to improvise freely allows to extend the playful potential of each individual to the dimensions of his own imagination.
Description
It is not a question of confining oneself to the often too rational and conventional rules of the improv match. The poetry of each individual is here the privileged entry point to create situations and incarnations, far from any notion, often paralyzing, of competition. The goal is quite different.
It is the ability to improvise that makes the actor, even if he does not necessarily use it directly to interpret a pre-written text. The environment is fundamental in order not to feel blocked at the gates of one's inventiveness, which can sometimes take on the appearance of an "interstellar void" if one doesn't feel confident or if one stumbles on the search for the famous idea that would save us.
It is precisely by accepting to use no ideas that we give ourselves the opportunity to think outside the box by the scripted rationalism of the overemphasized "story" to be told.
For the actor, on the contrary, there is nothing to tell. That is not his task. He should not be made an author or, even worse, a narrator. His only job is to interpret, to play with what he has at hand at the moment, without anticipating or planning anything.
All the actor's talent is contained in this resistance to "manufacture" to protect himself from the unknown.
This shows how much improvising, in the sense of spontaneously feeling the passing moment, is at the very heart of the acting process, whether it concerns theatre, cinema or performance. The quality of the emotions he transmits is due to this ability to be free of artifice "despite himself".
Intended audience:
Open to all levels, this workshop offers participants the opportunity to explore and express the widest range of play available to them. Nothing is constrained or forbidden in improvisation. The only limits are the respect of the physical integrity of others and the limits that one sets to one's imagination.
Program for the day of the "Improvise freely" workshop
If we let ourselves go, everything naturally blends together in our complex and inextricable minds like an interweaving of spider webs.
The thirst for surface logic can be akin to resistance to oneself, for those who wish to connect to their poetic background. And as much as the commercial background of a department store, that of the individual within his fellows is immense and infinitely deep. Research in improvisation, in my opinion, goes in this direction. Not to build "history" by forcing it, as one does to grow summer fruit under a tarpaulin in winter; not to remain stuck halfway through in a perpetual abstraction of meaning; but rather to reconnect with the narrative from an inner journey that reaches the surface.
The objective in this case is not to create a product, which is certainly sometimes spectacular, but which often maintains a paralysing and ultimately indigestible spirit of competition, which opacifies access to a guiding thread richly nourished by intimacy.
To do this, the best thing is to start with the "scary" void and quickly tame it by noticing the impressive matter that naturally inhabits us, without any need for a fictional pretext to express itself. However, everything in us is linked and this is what we must rely on to ensure that we do not fall. The emptiness, which in the end was not at all the case, serves as the only springboard for the launch, and the flight arises, surprisingly easy when we thought we were crashing to the ground. From there, a few insertions of short moments of automatic tracing and writing open the way even more, like a valve to all that suddenly presses behind, while, obsessed by the efficiency of "doing" to communicate at all costs, we still perceived a few hours earlier, this infinity as an obscure threat whose luminescence we could not distinguish.
- 10am - Start of the course
- 1:00 pm - ½ hour lunch break (Please bring a sandwich or a quick cold meal - No restaurants in the immediate vicinity)
- 1:45 pm - Resume
- Afternoon Break ¼ hour
- 6pm - End of the course
Note: Bring warm, soft clothing and a writing surface. Paper and pens provided.
The stages are a gateway to the stage.
They bring the keys to the notion of gambling.
Living Stage | Stage
"Improvise freely"
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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.
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Exciting workshop! Structured and interactive pedagogy, all in crescendo with an unravelling of all the layers that constitute us to bring us gently to the identification of the "true self". From there, an introspection and a direct connection to the heart of the matter: "free improvisation"...
I had a great time with very interesting partners to see evolve ... looking forward to the next part...