Workshop directed by Jean-François Dusigne
Based on the desire to favor the birth of “actors-creators”, this research aims to combine the principles of creative writing, dramaturgy and stage direction. Each one will be invited to alternate and try the roles of writer, dramaturg, actor, thanks to the passage through writing and the production of a show. The interactive combinations between acting, writing and performance will stimulate the play on the connection between person, character and role. Our “plural” dramaturgy will be the result of the weaving of the writings of each participants during the sessions of the workshop, taking advantage of the experience obtained together on stage. The work-theme proposed is “Lies, beliefs and manipulations”.
Writings (out)put in play
- Extending a necessary work about breathing, our experience protocols will begin with “live” meetings between the participants, with physical contact, discovery of objects mixing senses and imagination, in order to stimulate reminisces and associations of metaphors.
- The “availability” (listening, perception), interaction, adaptation, anticipations, space and objects will be used and considered as companions with the aim of “believing and making believe”, being the theatre the place of the Meeting of contradictory forces.
- Of course, no one will verify if what will be proposed belongs to past experiences, fiction or fantasy, as long as it is credible.
- Each personal writing will be shared and offered to the ensemble, in order to allow for possible re-writings or reappropriations by the other participants.
Dramaturgic research: unveiling the hidden reasons, finding the play’s drives and dynamics
- In parallel to the exercises aiming to give birth to the writings, a methodology of dramaturgic work about a specific theme will be proposed. Examples extracted by a repertoire will be studied and applied in order to learn how to spot the different actions of the plots.
- In doing this, the training will contribute to better mix analysis and improvisation, to master the different processes of stage directing, according to either the psychology of the characters (linear) or in a more fragmented way (by strata or collages)
- We will try to combine personal and collective stories, by articulating attitudes, facts, happenings and situations who touch each one’s inner personal space or experience together with those who touch the current social, political or economic situation.
By working on a communal documentary perspective and our respective imaginaries, we will ty to have the fable transcend the reality, to intercross opposite viewpoints and interests, to change our own way of watching, to understand what is human, to put on stage plays of our times, where the small stories become part of our common story.
Putting on stage the writings
- A particular attention will be given to the listening, to the dynamic relation to the environment, to the objects, to our training partners: “it’s the other that allows me to play”.
- The put in play in a time-space framed in this writing born by a plurality of inputs will cause a communal weaving of physical and verbal partitions, for a choral research, organic and “alive” at the same time, with sometimes the possibility of the emergence of singing.
We will insist on the flux, impulsions; accents, syncopes by working on the whisper, the flow, the rhythm and the prosody.
This research will lead to a public performance at the end of the course.