|. F I E L D .||choreographic workshop led by marta bichisao||
This workshop is a module of three week-ends, which can be attended also separatly.
It’s open to anyone have a clear curosity on body-systems.
The training porposal is developed on a method of physical subtle practices, somatic techniques and contemporary dance exercises.
. the vibrating body, summary of dyacronic oscillations and external resonances, explored in particular with a work on weight and gravity.
. the relationship between body and presence, explored through an open perception training.
It follows an imaginative and dynamic work that leads to a personal writing of brief danced fragments and to the creation of a collective choreographic organism, through the sharing of simple rules.
The body is considered as a net of sensitive stirring.
And the presence is the dynamic nucleus of a field of force lines and force volumes.
The attitude is that of the researcher that explores and constantly enriches his own sensitive landscape, training perception and imagination to create a dynamic unity among the internal and external strengths of the body.
The aim is to get the ability of tracking visible and invisible geometries that sustain every dancer in his own physical, artistic and choreographic desires.
|TO ACT/TO DO/TO PERFORM||theatre and dance workshop designed for actors, performers, dancers and people interest in movement research. led by vincenzo schino and marta bichisao, guest gigi ottolino||
Our intention is to create a practice of research based on rhythm and on movement.
This intensive workshop with the duration of 3 days is designed to propose practices hold to the company together with experimental ones.
First Clown: …for here lies the point: if I drown myself wittingly, it argues an act, and an act hath three branches – it is to act, to do, and to perform.
(AMLETO, act V, scene I)
The Clown is the essence of the artist as performer.
The Clown contains the essence of the human being, particularly of whom offers his own body (and soul) to the gaze.
In many shows we evoke the presence-Clown working on iconography and atmosphere.
Now we want to observe, practise and perform the tradition of some wonderful Clowns.
We have ambition to let some citations emerge by the physical and rythmic work.
We are studing particularly Buster Keaton and Jacques Tati.
Their rhythm puts in motion a resonance among the body of the performer and the spectators.
Their presence is a precise quality of movement: the way to be on the stage, the position in the space and the relationship with the objects.
Our interest is to investigate the coexistence of concrete actions and abstract ones.
|WORKSHOP OF THEATRE, MOVEMENT AND GAZE||open to anyone led by vincenzo schino and marta bichisao||
Our proposal is to share our creative practices.
It’s an intensive three days activity.
Every day the workshop begins with the physical training and continues with an investigation on movement, on body density and on breath, perception and observation.
After, the partecipants leave their training clothers to fit specific costumes and the director puts a clay’s make up on their faces.
Through these three phases they gradually come into a physical and emotional concentration and they get ready for the spontaneous and driven dramatic imrpovisation.
The aims is to accompany the participants inside our whole creative iter, from the preliminary iconographic research to the first contact with others collegues and with the space.
From the physical-emotional concentration to the creation of a Figure.
|GUESTS||Workshop led by Vincenzo Schino, Marta Bichisao with the art works “guests” of Pierluca Cetera.||
This workshop is designed to go deep in the relationship between the body of the performer and the painting on the scene.
Since many years Opera has measured itself with the presence of other "static" artistic forms, particularly sculpture and painting. Opera has longer looked for an integration of many art form inside the theatrical space.
Every form of art is bearer of a precise relationship with whom enjoys of it, with whom observes it, but it also guards a methodology of creation.
“The static works of art include pictures, sculptures, architectural structures.In these artistic forms the dynamic power of the creator is jealously guarded in the form of the work. The movements that he has used to draw, to paint and to model characterized his job. They remain still fixed in the visible lines of the pencil, of the brush. The activity of its mind reveals him in the form it dates to its material.
The effect of a work of static art on the observer is deeply different from that of a theatrical show on the spectator.
Of forehead to a picture the observer's mind it is inclined to follow a really run. The memoirs and the associations of ideas bring to a state of contemplative mind and to a meditative internal activity.
The public of a play, etc of a ballet doesn't have the possibility to contemplate. The spectator's mind is forcedly submerged by the flow of events in continuous evolution that, asking for a real internal share that doesn't leave time for the elaborate reflection or the meditation.
(Rudolf Laban "The art of the movement").
How to create a dramatic relationship between work of art and performer?
We are working on the idea of a theater that alternates the contemplation to the action.
This laboratory is a folie, a real experiment.
We will look for the integration of two phases of job: the starting point is a sensitive work on the body and after an investigation on some principles of direction and composition of the bodies in relationship to the space, the other bodies in scene and to some " guests": the pictorial works of the artist Pierluca Cetera.