WORKSHOP DI INTERPRETAZIONE
PER ATTORI PROFESSIONISTI
L’attore e la scena, dal testo all’azione.
Quando un attore/performer ha raggiunto un livello di consapevolezza tale da rendere il proprio corpo espressivo, liberare la voce e costruire in modo intenzionale un personaggio sulla scena, allora è pronto per un confronto nuovo e per dare vita a un inedito sé in termini performativi.
ZONA K e Teatro Franco Parenti presentano un percorso di formazione tenuto dall’artista Claudio Tolcachir, protagonista indiscusso della nuova scena argentina e regista pluripremiato a livello internazionale. Un workshop in cui sperimentarsi attraverso esperienze di recitazione e rappresentazione scenica, collettive e in solo, al fine di accrescere le proprie potenzialità attoriali.
A chi è rivolto il percorso formativo:
- 20 attori professionisti che abbiano voglia di affinare le proprie doti attoriali e recitative – costo € 180.00
- 10 uditori che desiderino entrare in contatto con questo mondo secondo una modalità meno diretta ed immediata – costo € 60,00
Quando:
23 e 24 Novembre ore 11.00 – 18.00 (pausa pranzo compresa) + 25 Novembre ore 10.30 – 13.30
Dove:
ZONA K, Via Spalato 11, M5 ISOLA.
Il workshop è tenuto in lingua spagnola con traduzione in sala.
Le iscrizioni corredate di CV devono pervenire entro e non oltre il 16 novembre all’indirizzo info@zonak.it Per info chiamare il numero 393.8767162.
Pic by Mariana Eliano
Il workshop nel dettaglio
La proposta didattica formativa approfondirà le seguenti tematiche:
– Come pensare una scena.
– Come scoprire all’interno di un testo le chiavi di una specifica e vasta evoluzione del personaggio. – Come trarre vantaggio dalle linee d’azione fornite dal testo per conferire verità e credibilità al personaggio e alla scena.
Il principale nemico di un attore è la recitazione, se essa si pone davanti all’azione del personaggio, apparendo così come una semplice rappresentazione. Affrontare la sottile, ma enorme differenza tra azione e recitazione, tra essere e mostrare. Rappresentare un pensiero o un’emozione o realizzare un vero processo di pensiero che produce un’emozione genuina nata nel qui e ora che la scena propone. L’idea è di pensare a un attore indipendente, capace di mettere in campo strategie per proporre e risolvere le scene; un attore dotato di armi necessarie per realizzare le sue idee e di malleabilità tale da incorporare le proposte della direzione e trasformarle in motori propri che arricchiscono il lavoro.
L’analisi del testo dovrebbe servire come una guida, piuttosto che come un panorama insondabile che genera impotenza. I personaggi e i loro diversi strati di verità, contraddizione, menzogne e transizioni prendono forma da un’analisi profonda e pratica allo stesso tempo, in unione con le diverse sfaccettature del performer, creando una vera mappa del personaggio.
In relazione all’azione dobbiamo definire quale significato reale abbia quella parola per noi. Se concordiamo che la realizzazione del carattere consista nella modifica di sè o dell’altro, quindi questo è il suo obiettivo, scopriamo che l’azione è un asse che organizza il nostro modo di pensare e agire. L’emozione deriverà dal naturale scontro tra l’obiettivo del personaggio e la sua opposizione, in aggiunta alle circostanze umane che la compongono, ottenendo così un’emozione genuina e non forzata dalla performance.
Obiettivi ed esercizio fisico
Analisi del testo
Lavoro di gruppo per analizzare le scene che si presenteranno, riferendole alla pratica scenica.
Azione, i risultati dell’analisi del testo vengono trasferiti al corpo.
Esercizi sperimentali sul corpo (verbi motori nel corpo – verbi motori nel testo).
Esercizi di comunicazione e relazione (attraverso esercizi verbali focalizzati sulla comunicazione e sulla relazione con l’altro).
Pratica scenica
Lavoro sulle scene preparate in seguito all’analisi del testo, con l’inserimento di esercizi fisici adatti all’interpretazione scenica. Gli esercizi specifici vengono proposti in base alle difficoltà che si presentano al momento della messa in scena delle azioni performative.
Claudio Tolcachir (AR)
For the first time in Italy, Próximo, the latest creation by Claudio Tolcachir, founder of the Timbre4 Company of Buenos Aires, considered the most interesting director and playwright in contemporary theatre.
Próximo tells the story of a long-distance love affair experienced by two young people who in reality never meet, but only talk to each other and see each other through PCs and smartphones. One is Spanish, from Madrid; the other Argentinean, from Australia. The audience becomes witnesses of the birth and construction of this love, made of words, silences and emotions filtered through a technological device. The show therefore recounts the experience of being far from everything but, at the same time, that of living the most intense emotions of a life without a physical presence, births, deaths, love, sex. And it investigates all the possibilities and limits of a relationship built on skype connection in times of hyper-communication where talking about love seems to be an act of resistance.
On Friday 22nd November, after the performance, Claudio Tolcachir and the company meet the audience in a chat moderated by Sara Chiappori (La Repubblica).
A ZONA K and Teatro Franco Parenti project
Theatrical performance in Spanish with Italian subtitles
c/o Franco Parenti Theatre, via Pierlombardo 14 Milan
text and direction Claudio Tolcachir with Santi Marín, Lautaro Perotti lights Ricardo Sica scenes Sofia Vicini costumes Cinthia Guerra organisation Teatro TIMBRe 4 production Jonathan Zak, Maxime Seuge
Go to INTERPRETATION WORKSHOP FOR PROFESSIONAL ACTORS with Claudio Tolcachir
performed by the She She Pops and their mothers (DE)
“A great show about parents’ faults and mistakes” Der Spiegel
2018 marks the start of a collaboration between ZONA K and Teatro Franco Parenti which, in an unusual and constructive way, present some shows together. An OFF reality and a historic theatre on the Milanese scene thus make explicit a convergence of artistic and thematic interests on some international avant-garde companies.
The performers are on stage with their respective mothers in an unusual version of Igor Stravinsky’s Rite of Spring. The performance focuses on the sacrifice of women in today’s family and society.
Since 1993, the Berlin-based women’s collective She She Pop have been exploring the social boundaries of communication in shows where they combine humour and intransigence on the one hand and spontaneity and sincerity on the other. After inviting their fathers in 2010 to participate in the performance Testament, they continued their investigation by adapting Igor Stravinsky’s Rite of Spring, together with their real mothers. The result is a lucid and irreverent analysis of the contradictory relationships between generations, a sort of manifesto on the role of women, prisoners of the conflict between private life and career.
The performance focuses on the theme of women’s sacrifice in the family and society. Stravinsky’s religious dimension of the ritual of human sacrifice is replaced by the moral question of self-sacrifice in the relationship between women and men and between mothers and daughters. Put in these terms, the topic immediately generates reluctance: sacrificing oneself as a woman for others seems an obsolete issue today. The enormous importance of self-determination and personal freedom that drives our society has obscured the sense of devotion and sacrifice.
The ancient pagan ritual that inspired Stravinsky, on the other hand, is based on the certainty that every community requires sacrifice, and indeed is founded and affirmed precisely through collective sacrifice. As in Stravinsky’s original play, the performance stages a ritual: the meeting between the She She Pops, their mothers and the audience. However, unlike the community gathered by Stravinsky to celebrate the sacrifice of spring, there is no agreement between the She She Pops and their mothers as to how it should be performed. Doubts arise from the very beginning. However, at the same time, the decision to try, together, is firm. “Who were we? Who are we? Why have we become like this?”
A project by ZONA K and Teatro Franco Parenti
c/o Teatro Franco Parenti, Via Pier Lombardo, 14 Milan
performance in German with Italian subtitles
a project She She Pop by and with Cornelia and Sebastian Bark, Heike and Johanna Freiburg, Fanni Halmburger, Lisa Lucassen, Mieke Matzke, Irene and Ilia Papatheodorou, Heidi and Berit Stumpf, Nina Tecklenburg video Benjamin Krieg and She She Pop set design Sandra Fox and She She Pop costumes Lea Søvsø musical collaboration Damian Rebgetz choreographic collaboration Jill Emerson dramaturgical advice Veronika Steininger lighting and technical direction Sven Nichterlein sound Florian Fischer video assistant Anna Zett overtitles KITA (Anna Kasten) coordination and support Fanny Frohnmeyer, Kaja Jakstat, Ruschka Steininger technical support tour Florian Fischer, Manuel Horstmann, Andreas Kröher, Michael Lentner, Sven Nichterlein, Torsten Schwarzbach translation for surtitles Emanuele Galante production/PR ehrliche arbeit – freelance office for culture administration Aminata Oelßner management Elke Weber production She She Pop co-production Hebbel am Ufer, FFT Düsseldorf, Mousonturm Frankfurt, Kaserne Basel, brut Vienna, German Language Theater Festival of Prague/Archa Theater Prag, Kyoto Experiment, Théâtre de la Ville/Festival d’Automne à Paris with the support of the City of Berlin and Hauptstadtkulturfonds Berlin
She She Pop is a collective founded at the end of 1990 by a group of graduates of the “Applied Theater Studies program” in Gießen. The members are Sebastian Bark, Johanna Freiburg, Fanni Halmburger, Lisa Lucassen, Mieke Matzke, Ilia Papatheodorou and Berit Stumpf. The executive production is by Elke Weber. The performers, mostly women, see themselves as authors, playwrights and makers of their own stage art. The reference to their own biographies is primarily a method – and not an aim – of their work: the biographical material is condensed into a recognisable artistic strategy and stylised positions. The result is a form of theatre strongly linked to experimentation. The theatre is transformed into a space dedicated to utopian communication. She She Pop considers it its task to trace the social limits of communication – and to go beyond the protective theatrical space, in both specific and artistic terms. Since 1998 She She Pop has been based in Berlin. The theatre HAU Hebbel am Ufer has been co-producer and partner since 2003. Other partners, in Germany and abroad, are: Munich Kammerspiele, Schauspiel Stuttgart, Kampnagel Hamburg, Forum Freies Theater Dusseldorf, Mousonturm Frankfurt / Main and Kaserne Basel, brut Wien, Theatre de la Ville / Festival d’Automne de Paris, Festival Kyoto Experiment Archa Theatre Prague, Prague German language Festival and the Konfrontationen Festival Lublin. The group is currently on tour with the following shows: the preview of Oratorio, which will premiere in February 2018 in Berlin, The Ocean is closed (2017), which premiered in October in Berlin and has just been presented at Romaeuropa Festival, Besessen (2016), 50 Grades of Shame (2016), Some of us (2014), Ende (2014), Schubladen (2012). Among the most successful shows, we must remember the extraordinary Testament (2010) which saw the performers on stage with their fathers.