Summer Body Workshops
A consciousness and a body: nudity and performance under the sun. Eight workshop sessions devoted to the body exhibited through performance.
Training LIVE SCENE | Internships
They offer, in a different form for each session, game keys that can be collected over time in a personalized "trousseau", depending on the frequency of practice and the use you wish to make of it.
Better than keys are passepartouts, configurable as desired by nesting, superimposing, linking...
Internships are the ideal environment to immerse oneself in the game and rub shoulders with a variety of worlds. They are also the ideal springboards to find oneself projected towards one's own creative worlds, often unsuspected or until now, considered with a desire mixed with fear and excitement.
The atmosphere and environment of the courses tend to make all these expressions possible. You don't just come here to seek an education, but to explore your freedom and exploit your personal potential while rubbing shoulders with that of others.
They don't pretend to be anything more.
They are neither a promise of employment on future projects, nor a form of disguised hearing as is often proposed. The work does not fall within these spheres of professionalization of the theatre or otherwise. In any case, not that way.
They open to the possible use of his own poetry. They are passe-droits; authorizations that are sometimes lacking in his education and that one has not found a way to give oneself to legitimize his desire. This is nothing to be ashamed of, for it is indeed extremely hard, even in our society, to find the place, the energy and the channel for individual and singular expression, off the beaten track by others and which do not always concern us first and foremost.
The themes proposed in the courses Living Scene are very varied, but their approach always aims at the same goal: the development of the individual through the power of the collective.
This can only be done in a reassuring and empathetic framework, where the limit - not moral, but ethical - is naturally given by mutual consideration. From this point of view, the breeding ground for all forms of play can be translated into two essential and fundamental concepts: veavesdropping vigilance and beye candy. It is a question of sowing and cultivating them together, as a preamble to any joint play activity. The first precious fruit of this germination is the awakening of minds and bodies to the "present".
Getting out of the daily anaesthesia of one's own curiosity about the world and the confinement of oneself to become an observer of what is happening "here and now" is both the goal and the key.
Everyone, and an artist more than anyone else, works exclusively on his or her own creative development.
This is certainly necessary for inventiveness to find its authentic character. This does not justify, in my opinion, the undrinkable madness of some artists who believe they are indispensable to the march of the world, nor the place that this same world believes it is obliged to give to a few symbols that are sacred for a time.
One must be convinced that there are passages, sometimes deeply buried, that lead to true personal expression and potentially exist within each individual. They are pre-existing to the consciousness itself. Every human being makes a spectacle of himself. He cannot do anything else to communicate and, above all, he does not know how to do otherwise. From this state of affairs stems many misunderstandings in everyday, emotional and professional life.
It's hard to determine.
It is when one believes oneself to be sincere that one is often the most naive towards oneself, or even the most foolishly presumptuous and beside the situation that presents itself. Thus the multitude of self-conscious behaviours makes up the inventive talent of the human race as much as its unbearable pretension and, on a large scale, often catastrophic in its consequences.
So why bother, in the midst of the dozens of obligations that life already imposes on us, to try to give free rein to his poetic thought and the artistic acts that flow from it?
Essentially to respond to two secondary appetites of life and perhaps precisely because of this, indispensable to characterize ourselves as thinking beings:
In other words, to widen one's field of vision on one's own existence and the environment in which it develops; to make one's gaze on beings, situations and things more mobile.
Flowing naturally from this first point, the following characteristic:
There is a third and fundamental advantage in wanting to plunge into this poetic mystery that characterizes our strange species, situated at the present stage of our evolution, let us recall, halfway between primitive animality and the most refined philosophical digression:
It's about the paradoxical taste of complexity...
Yes, we like complicate our lives in the original sense of the word. We take pleasure in not sticking to where the balance might satisfy his law. That is the seat of all progress.
This intellectual enjoyment, under this term often pejoratively used, intellectualis willingly denigrated by willfully frustrated temperaments. One can easily understand and admit, through this claimed self-protection, the fear of getting one's brushes tangled and suffering needlessly by feeling threatened with drowning in a life that is already messy and difficult to manage.
Where this bias proves to be too short, it is where it boasts of wanting to ignore everything about the particular pleasure that there is for human beings in reflecting on their condition and beyond, that of their fellow human beings and the animal nature from which we are constantly trying to extract ourselves.
However, it is not all desolation to come up against the limit of one's possibilities. It is even the opposite, if we do not simply turn this into an unfortunate and self-centred complaint.
Anger is a devastating but active feeling that brings about change and encourages assertiveness.
The complaint, the tearfulness, the grumbling complacency, the claim that is content to express itself deafly, constitute a range of inward-looking solutions with no other positive effect than to maintain one's immobility. The anxious, grumpy or desperate soliloquist has the unique virtue of ensuring that nothing changes for himself and of reinforcing the bad faith that does not want to acknowledge a lack of boldness.
Yet it takes a tiny dose of courage to take a step forward, thinking aloud: "I am".
Nothing to do with the one it takes to go into battle to defend one's own field, under duress and coercion.
The courage to be an artist is a mediocre courage, within everyone's reach. This is not where its value lies, so we might as well not make its expression an obstacle to giving it the opportunity to be born, because only then does the work begin.
Once you have crossed the threshold, it is not a question of courage, but of unravelling your a priori, beliefs, fantasies and other chimeras about what the quality of an artistic proposal can be that you will have to undertake in order to be more than just a simple doer; which in this case would be like having got out of a rut to fall into the well of a much more obscure commercial obscurantism.
The mass of questioning and questioning can be considerable, depending on where you start from. One must therefore be open to discovering oneself in a way that is different from what one had previously imagined. Cleaning the mirror glass, that's the job, and it's all about keeping it clean. A little wipe is not enough. Clear and lucid, it is under this aspect that the look must be renewed. Cultural and moral artifacts are scraped and removed without scratching anything from the main layer. Beneath the glass, an impeccably restored sight is waiting to be seen, read, probed, deciphered. This image contains all the others; those to come in particular, which will be able to guide the author towards what he or she wants to achieve. For this choice exists. No work is determined from the outset by the sole aptitudes of those who will produce it. Anything goes.
Composing, projecting, inventing from scratch are the tools of staging. It would be atrociously simplistic and dangerously likely to make us go back to religion, to invoke a sincerity straight out of the worst guilt, as if it had to pre-exist the work or the gesture. At this stage, we no longer owe anything to anyone and that is the whole point of the process: S...to grant a gigantic universe of freedom from a tiny, narrow corridor.
So it all starts with learning to look away from where you're supposed to be looking.
Under the skirts, in the pants, well, it's starting to get easier than it did a few years ago. But the phenomenal shield of the social world defusing any aggression or flaw in its system by transforming it into a fashion effect, it is necessary to constantly start all over again from the source to maintain independence of thought and real latitude of behaviour.
Thus, against the winds, the tides and the quasi ritual and permanent disappointments, the creative artist must be a Happy Sisyphus*For all its strength lies in an unalterable stubbornness to start again from scratch, which may lead it nowhere.
In between, the journey is fantastic and unlike any other in terms of intimate sense of self.
*Sisyphus on Wikipedia | Link on idixa.net to an excerpt of Camus' text "One must imagine Sisyphus happy"
It's alive!
Through various themes: burlesque, techniques, intriguing, classical... the workshops allow you to spend a few hours or a few days playing, discovering and making inventions that make up great collective improvisation.
For research enthusiasts who like to look at interpretation as a permanent field of investigation
SMS
A consciousness and a body: nudity and performance under the sun. Eight workshop sessions devoted to the body exhibited through performance.
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.
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.
A walk backwards towards the birth of a collective improvisation based on the participatory performance Iconicum given to the Generator.
"Everything must go" is intended to make its participants perceive this total eclipse of self-confidence that makes the interpreter in true research.
The principle of the "Iconicum" workshop is to improvise from compositions reconstituted live from master paintings or photographs.
"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.
In this performance workshop, it is a question of being totally actor and fully spectator, artist, everyday individual as well as researcher.
It is not easy to produce a free scream, authentic enough to find its natural place in the voice and without scratching the throat.
The mixture of natures that shape us and the contradictions that knead us are the guiding threads of this day of training.
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.
Using various disguises, masks and accessories, this day-long workshop offers everyone the opportunity to develop a distinctive identity.
Playing naked is in itself a speech. The aim of this workshop is to understand nudity as a relational, playful and scenic tool.