Workshops Offered

Relaxation

” The director has already achieved the greatest degree of power he has ever had in history. And our aim is to move beyond that situation by creating a form of theatre where it will be possible..”
”演出家というのはすでに歴史の中において素晴らしい地位を築き上げた。そして私たちの目的とは、その更に先にある劇作を見つけることである…”
-Ariane Mnouchkine

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Jeu! Play and Silent Play.

“Improvisation is an art that has to be learned…the art of improvisation is not just a gift. It is acquired and perfected by study.”
”即興とは学ぶべき芸術である…即興の芸術とは天から贈られたものではない。それは学びによって後天的に、完成されるのである。”
– Jacques Copeau

Games create enjoyment, if a performer enjoys their performance and more importantly, if they can share that enjoyment with the audience, the audience are more likely to enjoy watching. To Act is to play and the most charismatic actor is the one who is having fun. Le Jeu helps you to discover the fun of being an actor and the pleasure of being onstage in front of an audience.

ゲームは楽しみを生みだします。もし表現者がそのパフォーマンスを楽しみ、もしその楽しみを観客と共有することができたら、おそらく観客はそのパフォーマンスを楽しんで観るでしょう。演技とは’遊ぶ’・Play(原文)ことであり、ほとんどのカリスマ性を持つ俳優は、その演技の中に楽しみを見つけています。レ・ジュ(Play・遊び)は演技者であることの楽しみや、観客の前で舞台に立つことの喜びを見つけることの助けになるでしょう。

Le Jeu is at the core of any actors performance and in their making. It provokes the imagination and harnesses the actors inner fun.

レ・ジュは全ての演技者のパフォーマンス、またその製作過程において大切な役割を持ちます。それは想像力をかきたて、俳優にその内面にある喜びを利用することを可能にします。

Through Le Jeu we experience many of the techniques of theatre play; Space and action/reaction, Rhythm and timing the fixed point, sensitivity and lightness, and complicite, a shared understanding with ourselves, our fellow actors and the audience. This work helps us move towards an inspired and free from inhibition performance.

レ・ジュを通して私たちは様々な舞台のテクニックを学びます;空間と行動/反応、リズムとタイミング、感受性と軽やかさ、そして協調性、自分自身や一緒に活動する仲間、そして観客との共通理解などです。これらのことに取り組むことで、自信のないパフォーマンスから脱却することができます。

Included in this workshop are elements such as:

  •  Games as a starting point to enter wither greater ease into work
  • Improvisations for individuals and groups
  • Exercises for staying present and in the moment with someone else on stage.
  • Improvisations in silence to direct our attention to the essential action in a scene.
  • The re-play of everyday life
  • How rhythm space and form become important tools for the actor in building an improvisation.

ワークショップ内容例:

・ワークショップにリラックスして臨むためのゲーム
・個人またはグループでの即興
・複数人で舞台上にいるとき、集中を切らさずそこにいる為のエクササイズ
・シーンの中で観客の注目を導くことを、必要な動きだけで可能にすることを目的とした、言葉を用いない即興
・日々の生活を再現
・リズム、スペースそして型が即興をする上で重要なツールなのかを学ぶ

Le jeu is recommended not only for actors and directors and writers but also teachers and coaches.

レ・ジュは演技者や演出家、作家だけでなく教える側の方々にもおすすめなワークショップです。

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Dramatic Acrobatics/Stage Combat.

Dramatic acrobatics prepares us for the world of the Neutral Mask. We analyse movements that push and pull us and the space around us and explore their narrative and dramtic possibilites. We will explore undulationand eclosion and their resonance inboth the natural world and people/charaters. we will eplore the fixed point. This may be more commonly referred to as ‘pointe fixe’, however that is simply the original French wording of ‘fixed point’. This is an incredibly simple idea: The mime locates a point with his body, and then keeps it motionless in space. This technique is the basis of all illusions a mime can create.

“If the fixed point situates the displacement of a movement, the movement is evidence of the fixed point. In what moves we only see the immobile. This is a very interesting idea in dramatic expression.”
-Jacques LeCoq. Theatre du Geste

Finally we will examine these through the context of Combat Mime/Stage Combat.

The benefits of this work for the actor include: 得られることの例:

  • Improved versatility スキルの向上
  • Increased physical resources 身体的にできることの向上
  • Better concentration 集中力の向上
  • Greater imagination イマジネーションの強化

Through the workshop the participant will be introduced to the Six Essential Principles of :

6つの大事なこと:

1. Synergy: Moving in cooperation with another performer 共同作業:相手と協調して動く

2. Extention: Efficient use of momentum control 拡張:’弾み/勢い’の効果的なコントロール

3. Articulation: Clarity of movement. 明瞭な表現:動きの明快さ

4. Deception: Concealment and misdirection. ごまかし:実際に当てないことをうまく隠すこと

5. Alignment: Efficient use of posture and body weight. 姿勢:効果的な姿勢と体重の使い方

6. Sequential Flow: Falling and rolling. 連続した流れ:受け身と転がること

 After completing the workshop you’ll know:

  • The fundamentals of knaps, punches, kicks, chokes and hair pulls.
  • Know how body and weapon work together to defend against attacks.
  • Be able to perform basic parries and their variants.

ワークショップで学べること:殴ること、パンチ、キック、絞め技や髪を引っ張っての動き。身体と武器が攻撃から身を守るためにどう動くのか。基礎的な受け流しとその変形。

 

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Neutral Mask Elements and Materials/自覚、動きの末に

フェルデンクライステクニックとニュートラルマスク

“The aim is a body that is organized to move with minimum effort and maximum efficiency, not through muscular strength but increased consciousness of how it works.”
-Moshe Feldenkrais
目的は、必要最低限でありながら最も効率的な動きを可能にする身体だ。それは、筋肉の強さということではなく、身体というものがどのように働くかという意識を強めることによって可能になる
-モーシェ・フェルデンクライス

Feldenkrais is the most significant movement system to be recently adopted and adapted by theatre practitioners. The Neutral Mask and Feldenkrais technique work by differing means to offer a challenging but subtle approach to our own movement. The goal in this workshop is to improve the quality of movement in life first and then discover possible echoes in the theatre using the neutral mask. Performers of all kinds will find particular benefit from the fullness of breath, a freer emotional life and a relaxed confidence that comes from a heightened awareness

In the workshop we will cover a range of exercises to learn to move more freely, with greater ease, flexibility and grace, no matter what we are doing. We will also explore the notion of Neutrality from standing and lying postures using the Feldenkrais principle of scanning the body through understanding the skeleton. We will spend time recognizing the simplicity and function of the body before engaging in simple exercises in the mask.

Feldenkrais and neutral mask is great for actors dancers, teachers, people involved in therapy and sports.

フェルデンクライスは最近舞台芸術家たちによって改良され用いられるようになった最も重要なムーブメント(動き)のシステムである。ニュートラルマスクとフェルデンクライステクニックは2つの異なった方法である。ともに些細でありながらかなり難しいものであるが、私たちが独自にもつ動きというものにアプローチするきっかけを与えてくれる。

このワークショップの目的は、生活の中での動きの質を高めることであり、ニュートラルマスクを使って舞台での可能性を探るというのはその次である。どのようなパフォーマンスに従事するものであれ、自覚を高めることによって得られる、豊かな呼吸、自由な感情、悠々とした自信といったものがどれほど有益なものかを感じるはずである。

このワークショップでは、幅広いエクササイズを行う。それによってどんなことを行っていたとしても、より自由に、より簡単に、より柔軟に、より優雅に動けるようになることを目的とする。そしてまた、フェルデンクライスの基本的な考え方、つまり、骨格を理解して身体というものを細かにみていく方法で、立った姿勢と寝た姿勢の両面からニュートラリティー、自然体とは何かということを探っていく。また、マスクを使ったシンプルなエクササイズに入る前に体の単純性と機能を理解するための時間を取る.

「フェルデンクライスとニュートラルマスク」は、俳優、ダンサー、指導者、及びセラピストやスポーツ関係者にも有意義なものです。

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Larval Mask/Animals ラーバルマスク(未だ表情を持っていない面)

“These mask have not quite resolved into human features and so the level of play is big, simple and uncomplicated”
– Jacques Lecoq
「このマスクは人間の特徴をまだ備えていない。それゆえ活動のレベルは大きく、シンプルで複雑さをおびたものではない」
-ジャック・ルコック

Larval masks originate from Basel, Switzerland in the 1960s. They are large, simplified masks that have only one or two major features – a nose or cheeks – and rather small eyes, like faces in the state of becoming The mask enlarges, shapes and clarifies the actor’s play whilst clarifying the dramatic themes engaged, cutting out all unnecessary business. Building off neutrality the actor begins to navigate space and physicality in exercises and improvisations that help to simplify and amplify gestures in a step towards building characters without a mask.

Exercises in this workshop on Larval Mask will focus on developing the performer’s ability to clarify actions and simplify thoughts, to develop an internal monologue for a character and a non-verbal storyline for a group. The actor will discover how to give any character in any style of theatre more depth and resonance.

ラーバルマスクは1960年代にスイスはバーゼルで生まれた。ラーバルマスクは、大きな、簡単な作りのマスクで、一つもしくは2つの特徴があり、その特徴の多くは鼻や頬に現れることが多く、目の作りはかなり小さい。それは、未完成の顔、といってもいいだろう。このマスクは、劇的なテーマをはっきりさせ、余分なものを削ぎ落とす一方で、演技者の芝居を大きくし、形を与え、明確なものにする。ニュートラリティーを再び取り戻すことで、演技者は空間と肉体をエクササイズや即興で思うように動かせるようになるだろう。そして、それらのワークを通じて自己のジェスチャーをシンプルなものにし最大限の効果を発揮できるようになり、その後マスクを使わずにキャラクターを作るという次のステップへと進むことができるようになる。

このラーバルマスクのワークショップでは、動きを明確にする能力、そして、複雑な思考を単純化する能力を築くことを目的とする。この能力は自分の役どころやグループワークにおいてもそれぞれのキャラクターがもつ内面性やキャラクターたちの間にある見えない関係性を強めてくれる。(これはマスク(=面)がもつ特定の表現や特有の心理状態、及び対のマスクとは正反対の感情を演じるということである)演技者はどんなスタイルの演劇であれ、キャラクターに深みと調和をもたせる方法を学ぶことができるだろう。

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Object Manipulations

Any object can be used for manipulation skills. Object manipulation with ordinary items may be considered to be object manipulation when the object is used out of its socially acknowledged context and used differently from its original purpose.

Techniques included:

  •  Puppetry and manipulation (including building and manipulation)

Puppetry for directors is increasingly an accepted and accessible piece of theatrical vocabulary. The principles of movement and storytelling a puppeteer uses can be very technical; however, they can also touch on a wider approach to space, movement and the non-verbal communication between performers on a stage, which can enrich the work of all theatre practices through their application.

  • The Dynamics of Objects by using sticks, chairs and tables. We will tune into the natural rhythm, directionality, essence (fundamentally the dynamic) of these simple items; to move with them and not to consciously control them.  We also begin playing with creating new spaces by manipulating tables and chairs, lifting them, throwing them, sliding, undulating, turning them.

This workshop will finish with a short presentation of work called “Jonglage” (literally, “juggling”), where literally juggle things is not expected, rather an exploration of the  contortion of everyday objects to create new spaces and distance ourselves from their conventional functions, is more what we are seeking.

Imagination and the ability to fool around / defamiliarise ourselves with objects is essential for this topic to be informative and helpful in theatre making, therefore we will revist exercises in play as part of each warm up session.

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Personage/Music パーソネージュ

感情、行動、そしてキャラクターの創造

「もしあなたが、体、声、話し方、歩き方、動き方を用いることがなく、もし、イメージに沿ったキャラクターを創り上げることがなかったとしたら、そのキャラクターのなかに宿る魂を他人に伝えることなどできないだろう」

-コンスタンチン・スタニスラフスキー

How can we create vivid three dimensional characters? What is the process for this with or without an established text? The development of a character is something which occurs over time, and there is no real set approach for doing so. This workshop shows you how many stimuli, including paintings and music, can help building interesting characters out of which new stories can grow. Character work is often stimulated by text: But what happens when you don’t have a set text or when characters in the text have very little to say? this workshop will attempt to address both creating a character from text and one from improvised actions, situations and relationships in order to unearth who the characters are and where they belong in the world.

Improvisations away from, and around the character will provide the reservoir of

ideas which an actor can call on to bring a character alive in any situation.

We will explore characters primarily through the way they move. If a character is really working they can be received and understood by an audience without the need for spoken text.

我々はどのようにすれば生き生きとした特色のあるキャラクターを創りだせるだろう?台本のあるなしに関わらず、それはどんなプロセスだろう?キャラクターの創造とは常に起こっていくものであり、決まった方法などない。このワークショップにより、音楽や絵画といったものを含む、感覚を刺激する多くのものがどのように役作りに役立つのかを学ぶことができるだろう。そしてその役作りによって新たなストーリーが次々と生まれていくのである。このワークショップでは、台本からの役作りと、即興の動き、状況、関係性からの役作りの両側面を取り扱う。それぞれの即興はそのキャラクターがどんな人物であるか、そしてその物語の世界のなかで彼らはどこに属しているのかを探る為のものだ。

キャラクターに関係あるものであろうがなかろうが、俳優は即興を通して、どのような状況でもキャラクターを生き生きとしたものにするアイデアの宝庫を得ることができる。我々はまず動き方からキャラクターを模索する。もし、キャラクターが本当にそこにあれば、言葉の力を借りずとも、観客はそのキャラクターを受け入れ、理解することができるはずだ。

Gestural Languages/Space

This workshop is here for those that like to observe our world and to explore different artistic forms, or artistic languages that can be used to share our observations of the world.

Our goal and the reason for this workshop is to help each one of us to explore different kinds of forms, and artistic languages, to find or explore your own world…engaging the body in a indispensable stage or step of creation process.

Our body will be our instrument and revealing the physicality of the artist will be our objective because the body is both the unique and common point of all those forms and of each emotion. Dance, ( hip hop, jazz, classic, contemporary or any kind of form) theater, pantomime, clown, music, poetry, storytelling, all kinds of comedies, tragedies and any kind of art performances that you have created already will be precious material for you and for us. Stories, games, images and subjects from actuality will inspire us…to communicate emotions, to provoke the audience, make them dream, or, and make them laugh, or cry, help, inspire or touch them.

Human Drama/Melodrama

Melodrama is not the damsel tied to the railroad tracks but the big issues — the good, the true, the beautiful, and the evil that must be conquered. Melodrama is the script of emotions, of anyone who persuades you to buy or do anything.The term combines “melody” (from the Greek “melōidía”, meaning “song”) and “drama” (Classical Greek: δράμα, dráma; meaning “action”).

Scenographically, Melodrama works with the diagonal running through space, the tension being between the different elements of society. With this in mind, we hope in this workshop to help the participants discover that a good piece of theatre must work dynamically, the application of this is, if an action doesn’t involve space it doesn’t exist on the stage, it’s not theatrical.

Human Comedy/Commedia dell Arte

Participants will be introduced to the techniques of Commedia Dell’Arte performance and will explore Commedia characters within the italian and French traditions, from there participants will explore the possibilities of contemporary adaptations of Commedia Dell’Arte and will develop small individual and group  presentations based on Commedia improvisation.

Bouffon

Based on the teach­ings of Jacques Lecoq of Paris, “Le Bouf­fon” is an intel­li­gent clown, per­haps from the depths of our earth. However the difference between the clown and Bouffon is that we laugh at the clown and the Bouffon laughs at us, moreover, the clown tends to work alone and the Bouffon will always be found in a gang.

“The difference between the clown and the bouffon is that while the clown is alone, the bouffon is part of a gang; while we make fun of the clown, the bouffon makes fun of us. At the heart of the bouffon is mockery pushed to the point of parody. Bouffons amuse themselves by reproducing the life of man in their own way, through games and pranks. The parody isn’t directly offensive with regard to the public; there is no deliberate intention to mock—the relation is of a different order. Bouffons come from elsewhere.”
-Jacques Lecoq   “Theatre of Movement and Gesture” 2006 (Trans. David Bradbury)

In the realm of bouffon, the audience is the joke. Their greatest joy is to make fun of the audience, its values and flaws. This pack of grotesque outsiders engages in a direct relationship with the spectators using intelligence, charm, and an ecstatic sense of play. To play as bouffon is to celebrate contrast and paradox. . Hideously deformed yet beautiful, wickedly insane yet prophetic, bouffons explode with joy and mockery and create ferocious social satire. No one is safe. In this workshop participants will explore:

  •  Discovering the body and mind of your bouffon
  • Playing upon contrasts of state and rhythm
  • Connecting with the audience
  • Being 100% present and captivating
  • Parodying societal maladies and hypocrisies

In this workshop we develop the plea­sure is to mock and to imi­tate the absur­di­ties of the human being, to find and nuture sheer joy at play­ing our opin­ions and exag­ger­ated our their appear­ances with charm. There is no limit to the expres­sions of “Le Bouffon!

Tragedy Crowds and Orators

As an actor, you will gradually discover with what rhythm, what color, what substance, what material you like to move. You will discover your limits and your freedom. And it’s time for a thunderous entrance with your Greek Tragedy. Being big, walking without losing one’s marvellous aura, displaying a tremendous charm, being happy to have been singled out by the gods and to have had inscribed above one’s head a unique and iniquitous destiny; is not all this the source of extreme pleasure for the hero? And extreme pleasure for the actor?

The challenge for the actor is how to match the dimension of the tragic chorus facing him/her. What is at stake is a dimension beyond human realm, in contact with the Gods and the cosmos above.

We will discover what is the motor of tragedy.

Clown

Laughter has this particular subversive function to put the world upside down, to make us convulse with laughter and have a look on the other side of the world, the comic side, and to help us accept the tragedy of the human condition.

Clown plays with the public, not for it. Clown is based on the person, not the acting ability. The clown creates relationships with the 4th wall – the public. When he is in the difficult spots and fails, it is called a Flop. When he accepts it then comes laughter from the public and the start of a chain reaction. More flop, more laughter, etc. In which direction does that dynamic move? The answer is in the work.

These workshops are open to all experienced amateurs and professionals. It is also intended for directors, writers and scenographers. Every session we will start working with the physical training. The way of working is based on improvisations. This will be physical and verbal. There will be a moment every session for the participants to work on their own and there will be a presentation of the result of their work.