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The actors warm up - An integral part of any performers discipline. The actors warm up is a detailed step by step guide of the requirements needed to fully prepare for rehearsal/performance, along with some cardio/cross fit workouts to keep the everyday performer in peak conditions.
This will include -voice projection/vocal warm up techniques
-spinal alignment for postural variations
- a brief articulation warm up.
- ensemble theater games (these aren’t just games, they are tools to break barriers between us, to bring out honesty and presence in the performers and their performance)
- Rudolf laban dancers/actors stretching routine (a small routine that is assured to give you a base for all your physical warm up/cool down needs)
Understanding space and being in the present – It’s important to understand the space in which the performer dwells. In today’s theatre, space is ever changing and it demands an understanding of how the actor embodies and adapts to the space. But how does one remain in the present ? Theatre is all about “the now”, this moment will always take the fore front of the performance, yet the worries and thoughts outside of the space continue to affect the performer and the performance itself. This segment will look at techniques to bringing one’s self and in return the audience, in to the present moment.
Working on the self – The next step is to connect with one self. Being a stage performer can mean opening yourself up in your most private and intimate moments/thoughts, yet doing so in front of an audience. It’s this balance between being aware and yet being free of any awareness or self consciousness. Though this master class is designed for the ensemble, the individual’s importance cannot be washed away, and so you might possibly find the teachings in this segment to be relevant throughout the master class, and hopefully for the rest of your performance journey.
Working with a partner – before jumping into building a chorus, working one on one with a partner is key to understanding how you and your body will relate to your partner and their body. From the subtleties of eye contact and touch, to the focus and determination of “contact improvisation”, this segment will be a key to working in larger ensembles. We will look at status, and playing major and minor roles in partner work.
Working with ensemble/building a chorus – This segment is built up from all the previous teachings and will require the performer to use all his/hers skills acquired over time. Working in an ensemble is a challenging and daunting task for many performers, as it keeps you on your toes throughout the process, one cannot expect to be get by with individual merit, you have to learn to be a cog in the wheel. A wheel that may take great speeds at great precision. We will be focussing on an exercise known popularly as the “school of fish”, a tool that helps in the devising process, and helps nurture the performers into a tight knit unit, with each performer coming together in ways unique to ones individual strengths and weaknesses.