Scenic and performative work

During this session we will address the question of dramatic conflict, the origin of the action and the way of carrying it out, the construction of the performative sentence and the notion of center and perspective in the monologue. We will work to find a living word and to link the text and the creative imagination in the word, the image and the body.

 

Textual supports

We will rely in particular on the following textual materials:Life in Freedom (Work on monologue and the notion of perspective) andThe Urgency of change (Work on the notion of conflict) by Jiddu Krishnamurti.

 

“Questioner: I lost faith in everything - religions, philosophies and political utopias. There is war between individuals and between nations. I am faced with all this and I don’t know what to do. I don’t know how to live at all. I want to live a different kind of life. I don’t know what it means; I don’t know why I’m seeking it and, as I said I’m utterly bewildered by it all[1].

 

“They imagine that the truth is hidden” in some remote place, far from life, far from joy, far from pain. But the truth is life.[2]. »  “  When you look inside yourself you find hidden treasure. Be who you really are. What matters is action[3]”

 

Place : ART-T, STUDIO VAN AA, Brussels

 

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October 27 to November 1, 2014

THE URGENCY OF CHANGE-THE SONG OF LIFE

Conflict-Perspective-Action

Poetic act and language of action in performative creation

(6 days), Brussels

 

 

 

 

 

 

 

 

 

 

 

 

Scenic and performative work

During this session the work will focus on the notions of conflict, perspective and action in performative language.   We will work on authentic and living words and presence through means in particular of the poetic act and the performative monologue.

 

Text support

The urgency of change,The song of life by Jiddu Krishnamurti andTarot thinking (the poetic act and the performative sentence) by Alexandro Jodorowski

 

“Questioner: Please sir, could you tell me how I am to live in this world? I have to have a house and earn my own living. And my neighbors are of this world; and my children play with theirs, and so one becomes a part of this ugly mess, whether wants to or not. I want to find out how to live in this world without escaping from it, without going into a monastery or around the world in a sailing boat.[4]

 

"Artistry is to be completely awake and therefore to be skillful in action in the whole of life, and this is beauty[4]"

 

“I thought of creating a new art, a do, which would teach how to fall. When you learn to fall, you learn to get up afterwards.[5] »

 

Location: ART-T,  Dojo,  - Brussels

 

 

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December 28, 2014 to January 4 2015

EXPERIMENTINTHELIGHT /  NIGHT

 

Back to basics (1).

Situation. Conflict. Event.Performative monologue and dramatic scene. Scenic and performative experiments around the theme of light in the night

 

 (7 days), Paris

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Theme

The theme of the night is rich in a thousand facets, it can evoke the place of crisis, of the expression of fears, it is also the time of appeasement, it is still the time where bodies come together, where madness and the hustle and bustle of the day fade and transform. Night is associated with love, gestation, creativity and fertility. In the night the being finds himself face to face with himself. Between doubt and faith, he hears his desire in the awareness of what calls him and what holds him back. The expression in the night reveals the life of the soul through the means of dreams or creation. In the night the star appears. In absolute nudity the path to the life project is glimpsed.

 

Scenic and performative work

From this theme, we will continue work on the question of the foundations of dramatic and performative language. We will continue the work around the performative monologue in parallel with an approach to performative work with two or more people within the framework of the scene (approach to conflict with two or more people) approached from a perspective of the intersections between dramatic language and performative. The work will be done individually and with one or more partners.

 

Textual material

We will base ourselves on contemporary dramatic texts which will allow us to study both the monologue and the foundations of the art of the stage, through the notions in particular of situation, conflict, event, center and perspective. .  We will work in particular on extracts from contemporary pieces that we will try to approach from a performative perspective. The theme of the light that springs from the night between conflict and perspective will form the link between the various materials discussed.

 

Place : Paris

 

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Future

 

EROS AND MIRRORS OF THE SOUL

Back to basics (2). Action in Dialogue. Dialogue and action

(6 days)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Scenic and performative work

We will continue to work on the foundations of the dramatic text. In this session we will address the art of dialogue and we will see how to detect movement and action. We will continue the work around the notions  perspective, and analysis of action. The work will be done with one or more partners.

 

Textual material

We will base ourselves on the figures of Alcibiades and Socrates, in theFirst Alcibiades of Plato (On the nature of man) and inFeast (On the nature of Eros).

 

"Yes, you must see in me an inconceivable beauty, completely different from your beautiful conformation: But dear, look more closely, lest you misunderstand.

(…)

For me, I had heard enough, said enough; I had shot like arrows and I thought I had injured him. In any case I get up, and without allowing him to add the slightest word, I cover him with the coat I had (because it was winter), I lie down under the threadbare cape of my man here, I threw both arms around this truly divine and miraculous being, and this is how I remained lying there all night[8].”

 

 

 

 TOWARDS PERFORMATIVE SOLO

IMPROVISATION, WRITING AND COMPOSITION

 

August 10 to 23, 2015

 

THE CHARIOT – THE STAR – THE WORLD: THE SONG OF THE TAROT

Figure and Metamorphoses. Word. Poem. Singing

(14 days). HPontempeyrat ostellerie

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“When we memorize the Arcana of the Tarot, line by line, color by color, they are inscribed like a tattoo in the unconscious where they join these images loaded with innumerable meanings that Jung calls the Archetypes and which represent the various facets of our mysterious infinity. After a certain time, having become independent of our individual self, they manifest themselves as beings, make us consider reality in their own way, impose their particular form of feeling on us. (…) The arcana to speak, require a complete forgetting of ourselves (…) Disappear completely and let the figures speak (…) The Tarot, similar to the Tao with its yin and its yang, is a song of complementarity of opposites: materialization of the spirit, spiritualization of matter”

 

During this work, we will approach the dramatic poem and the work on the performative solo using as basic material the two main books dedicated to the Tarot written by Alexandro Jodorowski. The first, The Way of the Tarot, will familiarize us with the symbolism of the 22 Major Arcana which we will approach as Figures or Archetypes. From the study and imagination summoned in connection with one or more of these figures, everyone will be invited to imagine a dramaturgical composition in the form of a solo. This work, strongly based on creative imagination and the development of a composition from a series of improvisations, will be completed by an approach to the dramatic poem, inspired by the workThe song of the Tarot. Everyone will be invited to be the author of their own composition.

 

“A symbol allows for an infinite variety of meanings, as much as the individuals who perceive them. Each Arcana does not present a single, already established definition. Being a mirror and not a truth in itself, it becomes what you see in it. The Tarot is a being. (…) He’s a chameleon. (…) In many initiations, it is said that man can only approach the truth without ever knowing it through language, and that on the other hand it is possible to know Beauty, a reflection of Truth. It is through the look, by agreeing to give faith to what we see, that its meaning will be revealed to us[9]. 

 

“I slept with a different card under my pillow every night, or spent all day with one in my pocket. I spoke on their behalf, imagining the rhythm and tone of their voice; I visualized each naked character, imagined its symbols covering the sky, completed the drawings which seem to disappear in the frame: I gave an entire body to the animal which accompanies the Mat and to the Pope's acolytes, extended the table of the Juggler until finding in the invisible its fourth foot, imagined from where the veil of the Popess hung, seen towards which ocean flowed the river which nourished the woman of the Star and how far the basin of the Moon went . I imagined what the Mat had in his pocket and the Juggernaut in his bag, the underclothing of the High Priestess, the Phallus of the Emperor, what the Hanged Man hid in his hands, to whom the severed heads of the 'Arcanum XIII, etc. I imagined the thoughts, emotions, sexuality and actions of each character. I made them pray, curse, make love, recite poems, heal[10].”

 

Other recommended reading: It is recommended to read the chapter “The Archetypes” by C.G Jung in the workSoul and life. 

 

Location: In nature at the Pontempeyrat hotel

http://www.hostellerie-pontempeyrat.com/

 

Registration : Via the Pontempeyrat hostelry

 

 

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