22. 7. - 30. 7. 2023

Cena 350€

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Principles of mask play and physical theatre

This workshop derives many of its methods from the pedagogy of Jacques Lecoq, who famously called the red nose, “the smallest mask in the world.” Accordingly, this workshop will cover Lecoq’s principles of mask play—contact, articulation of movement, levels of energy, and breath—all of which are tools that enable us to reach the clown performance state.

Movement analysis and the birth of the clown

The other major methodological influence is the work of Giovanni Fusetti, who pioneered the link between Lecoq's work and somatic psychology. The participants and pedagogues will analyze the movement dynamics of each participant—their rhythm, gait, gestural habits, etc.—and explore the expressive themes inherent in each performer’s movement and physical presence. The resulting awareness of the body in space, combined with the principles of mask play, ignites a transformation into the clown state.

Getting to know the clown: improvisation, voice, costume, and status

We then, through improvisation, deepen each clown character, allowing the performer a greater understanding of the clown character in a theatrical context. We discover each clown’s voice, costume, and relationship to other clowns.

Performing the clown: Skills and interventions in the public space

For the final part of the workshop, the group begins creating performances from the clown state. This may include solo and group numbers, music and dance bits, unusual and unique skills, disasters, triumphs, and flops. There will be the opportunity to perform these interventions as part of the festival.

Alenka Marinič (SI) in Justin Durel (US)

Alenka Marinič (SLO) and Justin Durel (USA) are independent theater artists who have created, performed in, and directed many performances throughout Europe, the US, and Canada. They have been teaching together since they finished their studies at the Helikos International School of Theatre Creation, under master teacher Giovanni Fusetti. Rooted in the pedagogy of Jacques Lecoq, their workshops explore theater and performance from a physical perspective, always emphasizing the interaction between technique and play. As teachers, they have taught workshops in Slovenia, the USA, Italy, and Germany.

The laws of movement determine the tools with which the performer can play. The performer’s use of these tools is called technique. The performer's enjoyment in using these tools is called play. Exploring breath, spatial awareness, human postures, gestures, and body language, the pedagogy of Durel and Marinič focuses on the emotions that arise when technique and play coincide.

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