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Scène Vivante Workshop | "Inventing an identity" | Visual © David Noir

Inventing an identity

Individual and group lessons | Game management | Courses and workshops

Theatre ► Improvisation ► Performance

Live Stage Internship | "S'inventing an identity" | Visual © David Noir
Scène Vivante Workshop | "Inventing an identity" | Visual © David Noir
Open to all levels, this workshop requires above all a strong desire to discover, develop and test one's inventiveness and expressive qualities on others. In short, learn to have fun for good!

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

Description

Using disguises, masks and various props, this one-day workshop offers each participant the opportunity to develop a distinctive identity by working on appearance, voice and behaviour. The idea is to approach the notion of "character" without the preconceived notions of psychological theatre, but by rediscovering the freedom of childhood.

Dressing up, disguising oneself, appearing with pleasure under a mask, since one is no longer a child, is both simple and arduous. Meeting other figures in masks and experiencing emotions with them that are readable to an audience can seem even more so.

As an adult, we inherit a social mask, that's all. It's not even certain that we really make it ourselves. Of course, one can be an actor, an actress, by profession or by period, but the appearance of the performer is subject to a determined context, a play, a staging. This day of training proposes to shape the "creature" to enter a story and not the opposite. Inventing an identity from scratch means laying the foundations of a personal mythology, not subject to the diktat of a work, so that the character becomes a work of art itself.

To be or not to be...

Identity is a richer and more elaborate concept than a state or a temperament. In addition to a name, a credible identity requires a past, a present, a vision of the future, but also tastes, sexuality, uncertainties, hopes and regrets, resentments and passions, secrets and ambitions.

In the context of the stage, as in life, all this is necessarily developed from oneself and one's environment. This workshop uses a simple and effective method to achieve this:

Mimetic sound projection

This process consists of finding bodily inspiration by identifying with human, mechanical, unidentified or animal sounds: a panel of diverse sounds from which to draw as a child does when regulating its immediate environment.

From his confrontation with the questions, reactions and events provoked by those around him, the embryonic character develops, physically and psychologically.

Through natural empathy, imitation and discovery of its environment, its form takes shape and takes shape. In this way, we will accelerate the journey of different beings who, from the timbre of their voice to their clothing, will assert themselves until they become one with their host or hostess.

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David Noir

David Noir, performer, actor, author, director, singer, visual artist, video maker, sound designer, teacher... carries his polymorphous nudity and his costumed childhood under the eyes and ears of anyone who wants to see and hear.

This Post Has 3 Comments

  1. Any

    An intense course - like a concentrate of sensations and reflections.
    Reflections: by attending the pedagogical guidance of the other participants, I was able to identify certain scenic tools and clarify my own path.
    Sensations: by accepting to dive into the unknown without too much fear, because guided by David, and without being judged by anyone, because no spirit of competition was felt.
    8 hours of work during which the attentive and curious group became a stimulation in the research, the sound and light ambiances proposed by David offered tracks of improvisations...
    and more than 48 hours of personal debriefing to sort out, digest and appropriate all this.
    I am still looking forward to discovering the next themes of the courses.

  2. Didier Julius

    From this course, I retain strong images:

    That of David as a sports coach, the one who "optimizes internal communication, the one that the athlete maintains with himself". Because I have the feeling that it's much more a question of accompaniment, training, maieutics (it's quite a lot of work anyway...) than pedagogy (...) or teaching (blurp). It is a real high level sport for which we had a demanding physical, mental, emotional and poetic training. To make the right "scenic" gesture, not the perfect and theoretical one, but the one that is the closest to oneself according to one's characteristics and singularity. And all the work of lightening necessary to get rid of brakes and self-inflicted limitations such as modesty, rigidity, normative judgement, shame, self-censorship.... And that cannot be done effectively without the accompaniment and the external view of the coach. High level training on an inspiring multi-sensory playground. I say yay.

    That of the flint, of the creature that clashes with the one who embodies it and the sparks that it produces.

    That of the mask that one goes so far as to pierce even if one does not wear it.

    That of this impulse/energy/push/emergence/inspiration which can be embodied in different forms, crumbling under the accessories (magnificent masks among others ..) or without anything.

    The one of these rubbings with other creatures/creators and of a real colored collective resulting from a mixture of strong individualities (as what it is not incompatible)

    And what remains afterwards, this jubilant/vital possibility of creating infinite characters (some very marked, others barely perceptible), not as masks of protection or schizophrenic madness, but as extensions of oneself, reflections of complex, ambiguous, imaginative human beings...in opposition to any reductive and flat (and boring and...) social normalization.

    Anyway, it was great. Too short. I hope for a sequel

    Thank you David!

  3. Michael

    FEAR 1: DANGER AND DREAD

    Fear, we can say, is a reaction to danger, past or present, real or imagined. Dread is the English term for extreme fear in the context of the future. To overcome a fear, a person must be conscious of what it is s/he fears. To overcome dread requires letting go a fear of the future.

    A fear perceived is not necessarily the fear which drives a person to do or not to do a thing. The fear that has been isolated in the perceptions of its owner may be the fear that is familiar. Its being familiar does not mean it is comfortable; but nonetheless being familiar possesses at least the quality of being known. And a fear that is known can be given a name, an identity.

    This initial workshop revealed the progressive, explorable way in which a beginner may discern the existence in an initial session of fear behind familiar perceptions of fear.

    In many domains the pedagogical context separates itself from what is popularly called 'real life'. In the domain of Scène Vivante, nobody can say that the instructional function is separate from so-called real life. Indeed, much as the beginner may seek to escape the convergence of la scène vivante with his (or her) own person (four score kilos of mammalian flesh equipped with self-conscious awareness), immediate reality is palpable, physical and inescapable.

    From the instructor's point of view the process in the scènes vivantes appears thus: stage, body, sound, exploration, extension, voice, timbre; hence pathways to identities.

    From the viewpoint of a beginner: printed word, principle, rule, spoken word, attempt to integrate, confusion. To remove confusion: isolate unknown fear(s), name the fear. Beyond that fear lies the pathway to identities.

    Even to mention 'naming' is an intellectual's attempted escape from the space on stage that produced in me a state in which I was unwilling or unable to utter a sound. Seizure by silence was the result. This freezing of imagination must, I deduce, be a necessary step towards using sound as an extension of body and as a threshold. Crossing such a threshold to temporary freedom from the chains of mindfulness is the benefit and the prospect of such. I am in haste to confront this experience a second time. There is a paradox here. Why? We flee from dread yet I find myself longing for the dread to come.

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