The Actor and Neutrality
The actor and neutrality is a workshop created by Nuno Pino Custódio since 2012 that synthesizes principles and practices of the educational work of Máscara Neutra with ideas, concepts and experiences that have been established from his activity as a director and trainer, over the last three decades. . The actor and neutrality can be considered, therefore, as a structuring approach for the formation of the actor, an epistemological contribution of a practical nature for all those who seek to define meanings and purposes for their activity, today, in this 21st century that places us in the face of innumerable perplexities and fears.
The actor and neutrality is a workshop created by Nuno Pino Custódio since 2012 that synthesizes principles and practices of the educational work of Máscara Neutra with ideas, concepts and experiences that have been established from his activity as a director and trainer, over the last three decades. . The actor and neutrality can be considered, therefore, as a structuring approach for the formation of the actor, an epistemological contribution of a practical nature for all those who seek to define meanings and purposes for their activity, today, in this 21st century that places us in the face of innumerable perplexities and fears.
Because theater is being made at the dawn of a 21st century that confronts this art and manifestation with issues as modern and complex as the decrease in the power of attention and the permeability of the individual’s concentration, the inability to deal with doubt, the culture of hyperconsumption, the hyperactivity and the syndrome of excess of information, the dismemberment of the public space or, still, the disappearance of that look of preference of the spectator? Why is theater made in the era in which the other is expelled?
As it is an actor’s mask, a methodological tool that develops and consolidates what we can call the actor’s conscience and, preparing him for the most diverse situations, styles, genres and techniques, this workshop seeks to mitigate and deprogram impulses and unconsciousness arising from the everyday of reference of each one, cultural manifestations, invisible and common, so that the possibility of theater can resonate in a full, lively and lasting way.
It will be from a “neutral point”, from immobility and silence made of energy, that an alterity will be born (which will be evoked) and, more than that, that a whole interdependence between “showing to be seen” and “seeing to be seen” will be clarified. be shown”. In “The actor and neutrality”, Nuno Pino Custódio directs an entire structuring discipline to three spheres of theater performance: the actor, the choir and, finally, the character.
As it is an actor’s mask, a methodological tool that develops and consolidates what we can call the actor’s conscience and, preparing him for the most diverse situations, styles, genres and techniques, this workshop seeks to mitigate and deprogram impulses and unconsciousness arising from the everyday of reference of each one, cultural manifestations, invisible and common, so that the possibility of theater can resonate in a full, lively and lasting way.
It will be from a “neutral point”, from immobility and silence made of energy, that an alterity will be born (which will be evoked) and, more than that, that a whole interdependence between “showing to be seen” and “seeing to be seen” will be clarified. be shown”. In “The actor and neutrality”, Nuno Pino Custódio directs an entire structuring discipline to three spheres of theater performance: the actor, the choir and, finally, the character.
Learning Objectives:
- To understand the dimension of “collective neutral point” and with this concept to establish the difference between neutrality on the actor’s (non-fictional) and character’s (fictional) level. The inner speech in “open brain” and “closed brain” as potentiators of a work dynamics “with a mask”. The frontality of the gaze as the foundation of an expressive and simultaneously intentional body-in-action. Focal attention and peripheral concentration. Non-reactivity and containment. The sense of immobility as a generator of action (non-conscious action).
- The definition of core dramaturgical concepts as common contents, such as “character”, “action”, “objective”, “conflict”. Likewise, the establishment of a “practical” idea for an entire emotional universe of states and dispositions that inhabit the actor, such as trust and security, fear and courage, the sense of impermanence or volunteerism, among other axes more.
- The practice of the rituals of the Preparation and the Choir, as complementary devices that ethically and pedagogically unfold an entire system.
Definition of a tangible concept for “ego” as opposed to “consciousness” and/or “presence”. Theater in a hyper-consumption society and its anthropological need. Non-verbality and verbality in the perspective of the encounter with a language that enhances the seeing-doing relationship.
An approach and theoretical understanding of the tradition of the neutral mask in the 20th century in the West, from Jacques Copeau to Mario Gonzalez.
For more information, contact:
geral@npcteatroescola.com
+351 935 038 587
