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Theatre ► Improvisation ► Performance
Live Scene | Coaching
Coaching: the art of staging self-confidence.
The actor puts himself forward to be seen and to feel.
This coaching aims to make it simple for anyone to approach and satisfy these two desires.
Specificity of coaching
Some of us feel perfectly at ease in a group; others are only confident in a one-to-one relationship with their interlocutor. Coaching involves this personal relationship between the trainer and the person who wishes to be guided.
Who is it for?
For anyone who wishes to receive individual support for specific work on difficulties related to representation, one's own image, public expression or the way others look at one.
- for the anxious
Of course, there are all the people who believe, rightly or wrongly, that they have difficulty speaking in public. They are the classic "prey" of the greedy predatory and unscrupulous coach, ready to exploit their anxiety and doubts.
More seriously, if it is true that some individuals are troubled, or even panic-stricken, by the idea of putting themselves forward or exposing their ideas, and that in these cases, learning to let live For many of them, a simple awareness through a few hours of work is enough to reframe their self-image and make them realize that they do not have the disability they think they have.
- to those who are looking for themselves
These sessions are of course also for people who want to heal, improve or refine their sometimes complex relationship to life in society, to their own image, to their body, to their voice...
- amateur and professional actors
For performers wishing to develop a particular technique adapted to their acting or for actors wishing to receive specific support for a role or for singers, performers, soloists (one man/woman shows, recitals...) feeling the occasional or recurrent need for an outside eye, without wanting to call on a director to whom they would entrust the reins of their project.
- imaginative people who need a safeguard, an encouragement or a compass
Finally, there are actors at heart, whether amateurs or professionals, who have a very personal project but would like to be guided to bring it to fruition, from the beginning to its production on stage. It is a question of accompaniment or direction of the play, the development of which takes place in the medium or long term, and which requires a precise discussion beforehand and a joint study of the conditions and stages of the work. More details on this category are given in the "Actor's direction" section.
In all these cases, a coach must always be the one who understands and authorizes what one cannot easily offer to oneself; the one who watches over without hindering; the one who keeps the course without preventing from wandering.
You can pay for your coaching session here
70€ / hour
The function of a guide is to allow those he or she is responsible for guiding to grant themselves what they are unable to afford
Living Scene | Benefits
The saving practice of the stage
I sincerely believe that through one channel or another, everyone should have come close to performing at least once in their lives.
There is a common denominator to all the playing techniques
In any case, training effectively to "be" in front of others always means focusing all your attention on the reality of the moment.
The coaching offered within the framework of Scène Vivante is a personalized accompaniment specifically oriented towards the questions and difficulties generated by the relationship with one's public image.
THE COACHING ! Brrr...
I don't know about you, but as far as I'm concerned, this name gives me the creeps. Its pompous Anglo-Saxon sound suggests a kind of socio-psychological-sports control that is as murky in its effects on the mind as it is on the wallet, through a glove of pseudo-professionalism that is as flashy as it is dubious.
In short, it always smells a bit like a scam somewhere. Especially when a practice with ill-defined contours seems to want with determination the good of others; often that of the most fragile and at delicate moments of their life.
As for the famous trainersthey sometimes represent in my eyes evil incarnatesome of them are athletes of the superficial relationship
It may therefore seem odd, to say the least, to set out to propose trainings which themselves also involve coaching.
It's not just a matter of terms. If coach does not cover a very nice concept, especially for the reasons mentioned above, private teacher may seem as cheesy asframer, personal trainer or personal development mentor can sound vulgar and pretentious.
However, it is undeniable that this process of accompaniment has existed since time immemorial and sometimes even with a certain efficiency. What is a Pygmalion if not a coach?
As no word seems to me to elegantly define what should always be an attentive stimulation of talents, a laudable approach in itself, I have decided to use the most common word currently in vogue, to make people understand what I am proposing and perceive my vision of things.
It has always been one of the strings of my bow. I say this without vanity because we do not choose to be interested in others. It's like that; you either know how to hear or you don't know; you either know how to see or you don't know what a behaviour reveals.
I want to emphasize the meaning of the words here. I am not saying that I always listenbut nevertheless I hear. I don't pretend watch in all circumstances but I see. All this obviously being understood within the strict framework of the scene.
This ability to understand instinctively by seeing the action, this attentive distance that knows how to "take away" and make people want to do it without damaging the other person's desire, is quite simply the hallmark of an actor's director worthy of the name.
These qualities bring together some of the already very substantial parts of an even larger profession, that of director.
Staging means bringing out a living form from an empty, naked space. Once again, it is an opportunity to exclaim It's alive ! like Dr. Frankenstein when the moment arrives where the creature-creation really takes shape and comes to life. But before that, it will have been necessary to look, to see, to desire, to hear, to dream, to look again, to explain, to give desire, to look, to see, to listen and to hear again.
In all these respects, the ugly word of coaching, if one uses it with heart and involvement, covers the very noble meaning of gesture of accompanying.
And if not to the grave, at least for a few hours, we can find in these sessions the pleasant virtue of placing ourselves under the gaze of another, guiding our own steps towards ourselves, sharing the ambition to make us discover a little more who we are.
Yes, but in practice what do these coaching sessions achieve?
After a discussion to determine expectations, an individual and personalized follow-up is set up over a determined period. The work itself draws on written texts and the two types of improvisation techniques that I use in my classes and in my work as an actor and performer: theguided improvisation where the imagination is based on various sources of inspiration and thefree improvisation or spontaneous in which one learns to play oneself as a complete instrument able to find its resources in any event of the most tenuous as its own breathing, a sound that one perceives, a color that one visualizes...