International Center for Theatrical Research and Training
directed by Katharina Seyferth
Photo: Maria Celeste Talliani |
‘Towards Organic Presence’
proposes a series of precisely structured actions which connect the actor
to his own movement and rhythm, to his personal associations, to the flow
of his inner living pulsations and to his natural voice. |
The basic elements are :
Photo: Maria Celeste Talliani |
The physical work develops :
|
The vocal work :
Photo: Maria Celeste Talliani |
The individual action: Parallel to the everyday group work the participants will have the opportunity to create a short individual action and to structure it, with the help of the workshop leader, so it can be repeated. All group members will witness the actions at the end of the work period. |
8 h per day inside and outside / maximum 14 participants / TESTIMONIES
Project : Meetings with remarkable women
Grotowski Institute, summer 2009
Photos workshop, july 19 to 23 : Maria Celeste Talliani
Photos special day with guests and Rooms : Francesco Galli
Katharina Seyferth
worked since 1972 in German TV and Film productions as actress.
1976 she was guest-auditor at Lee Strassberg’s Actor Studio and took actors-classes
with Uta Hagen in NY at the HB-Studio. After working with Ryszard Cieslak in
New York at the Manhattan Theater Project she went 1977 to the Theater Laboratory
in Poland to participate in Jacek Zmyslowski’s Mountain Project. She was
invited to join the Laboratory’s international group and worked as a member
of the leading team in Vigil and the trans-cultural project Theater of Sources,
directed by Jerzy Grotowski.
 |
As artistic director of the association Hic et Nunc in Munich, she conceived, realized and presented different solo and group performances with texts of Gertrud Stein and Rainer Maria Rilke. Her work as teacher took her to Switzerland, Austria, Ireland and Turkey and Poland. In 1996 she settled down in Gascony, France where she has built up the facilities at Las Téoulères. In 2000 the International Center for theatrical research and Training was founded. She continued her activities as a teacher and organizer of the centers activities. |
Since 2005 she works regulary as teacher in the professional training for actors of the Théâtre 2 l’acte in Toulouse. She creates the solo performance of Gertrud Stein’s text “Tender Buttons” in French, which she is performing in Las Téoulères and in Toulouse. She founds the Company K. and initiates the "Promenade Théâtral".
In 2006 she takes part as actress in the production of Thomas Bernhards Dramolettes under the direction of Isabelle Luchioni.
2009 (declared by the UNESCO as year of Grotowski) she is part of the project « Meetings with remarkables women » at the Grotowski Institute in Poland. At this occasion she leads a five day workshop for a group of 17 international participants and she presents her performance « Rooms » from « Tender Buttons » by Gertrude Stein in English.
directed by Thomas Pasquon and Santiago Sempere
More information for this workshop only in french meanwhile you can contact the workshopleaders directly :
Yoga : thomaspasquon@club-internet.fr or by phone at 0033622197062
Dance : santiago.sempere@worldonline.fr
Mettre en relation les espaces / Les gestes du quotidien :
Thomas Pasquon et Santiago Sempere se sont rencontrés pendant la formation de yoga à L’école Française de Yoga, dans la même promotion. Outre y avoir suivi l’enseignement principalement, d’Andrée Maman, Patrick Tomatis et Philippe de Fallois ; ils ont constaté des parallèles, comme leur commune passion et pratique des arts.
L’un est plasticien, l’autre danseur- chorégraphe, ils ont eu le désir de proposer et faire partager le résultat de leurs travaux et recherches autour de la perception et la créativité dans un espace réel mais, néanmoins subtil. Transmettre dans le contexte du yoga et de l’espace naturel, leur enseignement en livrant leurs outils emmenant ainsi les participants à créer une œuvre–performance, tel est leur propos.
Contenu :
Le stage, commence le matin par 1H d'assise/pranayama, en alternance avec les deux intervenants, suivi du petit déjeuner, et une matinée de pratique de Hatha yoga. Après déjeuner et repos la journée se poursuit par un atelier de danse axé sur le geste quotidien, geste créatif, geste méditatif. Chaque participant sera emmené à créer son propre rituel-performance à partir de gestes abstraits, simples, d'expression ou conviviaux, à l'aide de techniques d'improvisation et de composition dirigées ; à créer seul, à deux ou en groupe, une composition de danse. Le soir sera consacré après le dîner à la mise-en scène en préparation de la soirée -performance du vendredi soir. Le samedi matin après une séance de yoga par les deux intervenants et un échange autour d'un repas, nous nous quitterons.
Programme :
Accueil à partir de dimanche 22 août après -midi, dîner à 20h et réunion.
Apporter sangles, tapis, de yoga, chaussures de sport etc. 16 personnes maximum
Thomas Pasquon
Yoga et méthode hébertiste Professeur de yoga diplômé de l’EFY Paris, *membre de la FNEY Illustrateur, ancien élève de la Villa Thiole (Nice) *lignée de Nil Hahoutoff : formé par P. Tomatis, Ph. de Fallois…
« Durant cette semaine, nous nous attacherons à mettre en relation les espaces qui s’offrent à nous, ceux que propose le site du stage, la grande salle avec son plancher, les champs, les bois, la rivière qui en forment les alentours mais également l’espace du corps, l’espace mental, l’espace intérieur.
Nos outils seront la pratique posturale, le travail sur le souffle propre au yoga.
A l’extérieur, nous expérimenterons des éléments de la méthode naturelle de George Hébert, méthode décomposant les mouvements humains en famille tel que les différentes façons de marcher, courir, les sauts, le fait de nager, soulever, lancer et ceci afin de rayonner à travers l’espace naturel de l’embrasser au mieux des possibilités de chacun. »
Santiago Sempere
Yoga- Danse - Méthode FM Alexander Danseur- chorégraphe Professeur de yoga diplômé de l'EFY paris*, membre de la FNEY Diplômé ATI de la méthode Alexander, diplômé d'état (danse contemporaine) Maîtrise « arts de la scène » Paris VIII- danse (les processus de création chorégraphique) *lignées de « Madras » et Nil Hahoutoff : formé par A.Maman, P. Tomatis, Ph. de Fallois…
« La présence dans les gestes du quotidien est une présence vivante dans l'instant, une conscience de soi, du lien à l'autre qui mènent à l'« état de danse ». Alliant le yoga, la méditation, la méthode Alexander à une approche bien spécifique de la danse, un thème de pratiques corporelles et de motricité sensorielle est proposé autour du geste ou de la ritualisation du quotidien à la portée de tous . Une redécouverte de soi par la conscience de soi et du lien aux autres et à notre environnement ».
directed by Maud Robart
The precise endeavor of this work is founded on the practice of songs whose formal characteristics are governed by the repetitive mode.
The intention is to allow the active participants to investigate the conjunction between the objective structure of these elements, fixed by tradition (Afro-Haitian ritual songs) and spontaneity, a personal element belonging to each artist.
The spontaneity here is not theatrical in nature. Rather it engages that which is personal: The artist’s intimate reactions, his motivations, his memories.
The process of work is constructed through listening, through the adaptation to others and to the space. This process is built not only through the attention applied to the melodic and rhythmic precision of the songs; but also through the attention given to that which is connected to the internal perceptions of the singer.
Precision/Spontaneity is the type of relation at work in the organic process which these songs tend to mobilize.
Nobody is entitled nor authorized by Maud Robart to transmit the elements of her research under the cover of her name.
“I also warn the people interested on my work: all workshops pretending to be inspired by the principles of my research and proposed by others than myself do not have my consent. The technical mastery of the artistic models in effect in my practice, as well as the right comprehension of the underlying principles which structure them, are achieved through rigor and permanent assiduity in the practice. They also require different levels of integration.”
Conditions of Participation
The workshops include five to ten people.
They are addressed to artists of good physical and mental health, capable to assume the consequences of a strong personal commitment and feel the need to enter in full consciousness a process of personal and artistic discovery.
The work sessions last approximately three hours per day.
The participants must submit an application letter and fulfill the following qualities.
keep a simple and repetitive body/voice rhythm for a longtime.
increase their attention throughout the totality of the situation
have a professional attitude on the research of technical detail
rapidly memorize the archaic language of the songs.
Simple, elegant white clothes are required as work-dress.
Women: a long and large skirt with a blouse. Men: city-pants and shirt. Sport-clothes are used only in the preparatory phase of the work. The work is done with bare-feet.
The knowledge of French or English is necessary.
As a native haitian Maud Robart was co-founder of the artistic group Saint Soleil in Haiti. She participated in 1977 with 30 people from Saint Soleil at the Theater Festival in Nancy. In the research on traditional forms of performing arts related to ancient ritual she collaborated, as artistic specialist, from 1978 to 1983 in Haiti, Poland, U.S.A. and Italy, with Jerzy Grotowski
She was two times in 1987 and in 1988 Lauréate de la Bourse Lavoisier in the field of theatrical research.Since 1994 Maud Robart conducts workshops in Europe and America.
directed by Sajeev Purushotama and Annabelle Pirlot
An approach that combines the Kathakali and Kalarippayatt involving the dynamics of looking, working on postures and specific rhythmic structures. These exercises strengthen endurance, concentration, awareness of directions in space, the sensitivity and develop a rhythmic body based on the narrative and animality.
The Kathakali is a form of classical dance drama from Kerala in southern India. Appearing in the 17th century, this art is considered one of the most technically developed and refined among the performing arts in India. Its featuring theatre, dance and percussion in a special relationship between rhythm. Thus, the workshop is provided to dancers, actors and musicians.
The game of the Kathakali actor is demanding, he insists on using special facial expressions, gestures of states and a combination of body language so elaborate dance movements to tell an epic. The stories of Kathakali are mainly based on the two Indian epics The Ramayana and The Mahabharatha. In this workshop is not to train actors in Kathakali, but to use specific elements of the traditional practice, to receive a complete workout for an actors’s /dancer’s awareness and available to take an essence for the contemporary scene . Taking its essence and a tradition, the interpreter can then make a journey deeper and greater creativity in its interpretation.
Dress: comfortable to move.
Workinghours : Morning 7am to 11am Afternoon 15h to 18h
Maximum number of participants: 15
Sajeev Purushothama
trained in kalarippayatt (martial art) and Kathakali, dance theatre, professional actor in Kathakali from 1997. In 2005-2008, he did studies with the "Theater Training and Research Program" in Singapore, where he worked on four techniques of training as an actor/dancer from Asia: Noh theatre (Japan), Wayang Wong (Indonesia), kootiyattam (India) and Opera Beijing (China). In 2008 he was resident in Paris, with the Co. "Pas de dieux". He has also worked with Dr Jane Gilmer (New Zealand), Phillps Zarrilli (UK) and Uichiro Feud (Japan).
Annabelle Pirlot
researcher and pedagogue in contemporary Dance - Theater
