The working method is based on three “section”: BODY, VOICE, NARRATION.
The work on the body will focus on the release rather than the accumulation of tension. Through a series of exercises participants will learn to trigger every single muscle in order to comprehend the relationship between the rhythm, tone and volume of personal actions. The basic exercise is the SCHIERA or COHORT, which consists of relearning how to walk. From the simple flow of one step after another, we reconstruct the physical equilibrium of the person. The Cohort teaches the comprehension of relations between people.
The Cohort serves to train oneself to listen to those who listen to you. This exercise is the point of departure and the point of arrival in training designed to mould an actor who is aware, responsible for their own presence on stage. All this has nothing to do with characters, with psychological, with staging, while at the same time can be a useful technique for every aspect of theatre.
The actors join one another to form a cohort, the objective being to find a unity of presence among the people walking, excluding every affectation, every movement not strictly necessary to natural walking. The Cohort is energy, it is timing, it is rhythm and listening, joy, trust and love.
“By walking to and fro, seeking to listen to the others and to comprehend the space, actions gradually develop. They may be dances, songs or true scenes.There is a moment in which everything seems to happen spontaneously.”
The human body is an extraordinary instrument that produces sounds. Discovering the possibility of “resounding” signifies liberating energies that bring wellness.
In order to liberate these energies one needs to learn free emission and seriality. The free emission of air permits the diverse parts of the body to resound fluidly, without impediments.
If the emission is free, singing signifies choosing from among the infinite combinations of the three components of rhythm, tone and volume those best suited to evoke environments and situations, to comprehend one states of mind, one sentiments and those of others.
Telling stories and talking about oneself is the most efficient way of establishing those relations that generate society. Over the course of time we have developed techniques that allow anyone to comprehend their own story. We are our story. Telling our own story helps us tackle fears, defined personal needs and develop desires.
The three sections, body, voice and narration will be accompanied by the concept of AWARENESS.
Awareness is that which brings together silent consciousness, presence and vigilance, with vigilance understood not as inquisitional or censorial control, but as conscious understanding of being, as a disposition to care for what happens and for who listens.
WHO IS THE SEMINAR FOR?
The exercise of the Cohort, born as a purely theatrical practice within Vacis’ dramaturgical career – from its embryonic form in one of the first shows from 195, Elementi di struttura del sentimento, through to the recent Risveglio di primavera – at a certain point it left the theatre to inhabit other spaces, including those of the disadvantaged, because everyone, not only actors, need to enter into intimate relations with those around in order to be in the world. Beyond the canonical spaces of the theatre and freed from its exclusive service to the dramatic action, the practice of the Cohort, of the Share Breath, has also become a founding part of the workshop activity which the Institute of Theatrical Practices for Personal Wellbeing has undertaken with schools and associations of various kinds, including those that care for the mentally and physically disabled. In this setting the practice reveals with even greater force its experiential nature: experience of understanding, of presence, of compresence, of listening, of sharing and of unprejudiced comprehension, not lacking in a certain unpredictability, which, then again, it part of the very nature of every authentic experience.
“The work we are doing starts out from the practices of the Institute of Theatrical Practices for Personal Wellness, that is those theatrical practices that have as their point of reference and aim the individual and their wellbeing.These practices are the fruit of what we have learned from the great masters of the 20th century, in particular the attention to theatre beyond the show.What is important therefore within these theatrical practices are those exercise, those movement, that train us to be present, to be present to ourselves and to others, present in time and in space, to be therefore “aware”.
The actors on stage in fact need above all to be present to themselves. Thinking about what Italian actors expect when they go on stage, I thought in fact that being present to themselves is the most noble, or at least the most interesting, among them. So we don’t work exclusively on the mimetic aspect of theatre.[…] In effect, my background, while on the one hand is Grotowskian, on the other it derives from having grown up in the Turin suburbs, the object of theatrical decentralization in the Seventies, from the Teatro dell’Angolo to Giuliano Scabia.What we do in the Institute of Theatrical Practices is therefore the result of this dual experience. […]
I work a lot on the fact that the actors talk “with” their interlocutors, the public, not “to” their interlocutors.[…] This (last) method is no longer current, or rather it’s no longer consistent with the present we are living in.So even though theatre is also this, that’s to say a talking and a listening, the diffusion of modern means of communication has rendered urgent that need to go beyond the “fourth wall” that I have long felt.
When an actor goes in stage, whether they are able or disabled, black or green, they must always be present to themselves. What is to be grasped is their level of awareness, after which all labels are sporadic. When you work with non-professionals, event though they may be very professional, a show is a possibility, not a necessity; what is really important, what I’m really interested in is the process, with or without the show.”