The Actor-Creator

Improvisation, at the origin of the creation process, is developed from dramaturgy tools that allow actors to establish structures, networks and scales that guide the intentionality and inventiveness of a work. Not infrequently, used to depending on a previous and extrinsic stimulus (usually a written dramatic text), the actor feels helpless, without confidence and “without ideas”, when the processes require the improvisation to participate in a research or even , is embodied in the staging itself. Can the actor have a “new brain”, assume improvisation as a work that flexibly repeats itself, evolves and transmits itself in an intentional, consistent way, capable of provoking a living encounter?

Improvisation, at the origin of the creation process, is developed from dramaturgy tools that allow actors to establish structures, networks and scales that guide the intentionality and inventiveness of a work. Not infrequently, used to depending on a previous and extrinsic stimulus (usually a written dramatic text), the actor feels helpless, without confidence and “without ideas”, when the processes require the improvisation to participate in a research or even , is embodied in the staging itself. Can the actor have a “new brain”, assume improvisation as a work that flexibly repeats itself, evolves and transmits itself in an intentional, consistent way, capable of provoking a living encounter?

Can this art of unfolding of yours simply face the empty space and the unknown inherent in discovery, in a more conscious, structured and intentional perspective?

O Actor-Criador

Throughout the workshop, three historical moments will always be in the background, evoking in a very intimate and obvious way the paradigm of Total Theater: (1) the practice of epic orality of bards, poets and storytellers of those centuries immediately before the advent of technology of writing, (2) the virtuous and highly inventive work of the Renaissance/Baroque actor at Commedia dell’Arte and (3) the movement of dramatic renovators at the turn of the 20th century who, with the initial impulses of symbolism, projected creators who seek, paradoxically, a theater without actors (shadows and statues) or, at least, attenuating their presence, dematerializing the “flesh” with human-puppets, masks and everything else that distances them from the material contingency of the body and aesthetics. naturalist.

Throughout the workshop, three historical moments will always be in the background, evoking in a very intimate and obvious way the paradigm of Total Theater: (1) the practice of epic orality of bards, poets and storytellers of those centuries immediately before the advent of technology of writing, (2) the virtuous and highly inventive work of the Renaissance/Baroque actor at Commedia dell’Arte and (3) the movement of dramatic renovators at the turn of the 20th century who, with the initial impulses of symbolism, projected creators who seek, paradoxically, a theater without actors (shadows and statues) or, at least, attenuating their presence, dematerializing the “flesh” with human-puppets, masks and everything else that distances them from the material contingency of the body and aesthetics. naturalist.

At a time when the other is expelled, the formal interdependence of seeing-doing is destroyed or, even, the sphere of public space is vitally injured, the workshop O Actor-Criador still seeks to make objective contributions so that the actor depends on himself, so that he learns to reestablish the bond with the one who observes him, complements him and makes him constitute himself: the spectator.

Main program contents:

Reactivity and non-reactivity | Immobility and action | Front view and incidents | Action and objective | Pantomime and manipulation of imaginary realities | Onomatopoeia and grummelot | Depersonalization | Obstacle and conflict | Actantial model | Structure of an improvisation | Travel: backstage, stage and audience | Rhythm and dynamics | Compression and anticipation | Narration, orality and writing

For more information, contact:
geral@npcteatroescola.com
+351 935 038 587

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