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Theatre as a creative weapon for personal, social and political change.

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11th 12nd and 13th March
16.00 to 19.00 (GMT+1)
9 hours
online 
In this workshop you will learn, explore and apply how we can use theatre as a way to create performance pieces from those who do not have a voice. Through the methodology of the Theatre of Yes, people’s creativity enhances their personal talent so that they believe in themselves and stop feeling that “I can’t, I’m not enough, I don’t know how to do anything.”

They can find themselves from another perspective and use their personal stories to help them escape the victimization in which they sometimes find themselves trapped.

 

To create theatre pieces from personal experience.
To understand how to unlock creativity from those who are marginalized.
To use theatre to break out of victimization and empower those who do not have a voice.

This workshop is for you if…

- You feel that you still have time to turn your life around so that the theatre is more present in it, bringing more happiness and greater personal and professional well-being.

- You want to awaken your body, your emotions and your creativity, which have been dormant for a long time.

- You would like to learn new theatre techniques to use with other groups and so that your life has a fuller purpose.

- You want to find a space where your sensitivity and creative intensity are understood in a group environment with other people like you.

- You long to contribute your grain of sand to society and you feel that creativity is a weapon against this neglect.

What is the Theatre of Yes?

A theatrical language with which to give life to high-quality works using the personal stories of people who are not professional actors but who have a lot to say. An honest, generous and beautiful language used with the result that the spectators present break their prejudices and we all become closer as a society.
The Theatre of Yes can help unlock your “Noes” and help other people to empower themselves.

Personal values ​​for the base of the Theatre of Yes

CREATIVITY

Creativity as a way to awaken consciences, share silenced stories and transform society. In all my years of experience I have seen how the Theatre has been an engine of change, transformation, realization and analysis, as well as a form of forgiveness and bringing communities together.

EMPATHY AND COLLECTIVE STRENGTH

I believe in the group as a way to learn, understand, share, advance and break prejudices and stereotypes. In the group you will find a safe, confidential and inspiring space for your learning process.

BEAUTY

Beauty as a means of showing traumas, metaphorical concepts and silenced stories. The processes of the Theatre of Yes are deep and at the same time vital, through which this beauty helps us to reconnect, enjoy, understand each other and move forward together.

SOCIAL JUSTICE

The work is methodical, analytical and validated by years of research and practical experience. This work is based on the use of the Theatre of Yes as a form of social justice, giving a voice to those who do not have one, hearing silenced stories and helping organizations in their creative transformation.

VITALITY

The positive, transformative energy that our body and its own movement give us, generating creativity. Vitality is important as a force for transforming lives, relationships, or past ideas.

Objectives

Break stereotypes and entrenched prejudices, bringing the most forgotten parts of society closer to a space of social and personal recognition.

Wake up and give a voice to the most silenced and abandoned stories in this world.

Create an “army” of creative Yeses to expand theatre as a tool to make the most oppressed groups in the world heard.

Sustain spaces where organizations can, through the creativity of the Yes, discover, reflect and transform entrenched, forgotten or muted themes.

Expand honesty, humility, generosity and simplicity as creative weapons for personal, social, and political understanding.

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Duration: 
9 hours
Price: 
120 euros
Contact: 

For more information and payment follow this link https://www.theatreofyes.com/workshop-online/ or write an email marina@actingnow.co.uk 0034664131207

Re_Edit. La lingua del montaggio

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Re_Edit. La lingua del montaggio
Il re-editing può essere un ottimo laboratorio di sperimentazione ed affinamento del linguaggio audio-visivo per eccellenza: il montaggio.

a cura di Paolo Santagostino

DATE: dal 31 gennaio 2022 (chiusura iscrizioni 17 gennaio 2022)

DESCRIZIONE

Non è un caso che Premiere Pro, che si colloca esattamente al centro tra il "nonno" Avid ed il "figliol prodigo" Da Vinci, sia non solo da parecchi anni uno dei principali protagonisti assoluti della produzione audio-visiva mondiale ma abbia anche meritato l'attenzione da parte di alcuni dei più importanti professionisti del montaggio cinematografico. Primo fra tutti Walter Murch, montatore di capolavori della storia del cinema come Apocalypse Now ed autore di uno dei più importanti libri sul montaggio come In un batter d'occhi che in questi ultimi anni, durante le sue masterclass, ha spiegato i motivi che lo hanno spinto a passare da Avid a Premiere, non solo per l'evoluzione altamente professionale, costante ed esponenziale del software in sé ma anche per il continuo dialogo che i programmatori di Premiere mantengono e sviluppano con i Montatori stessi.

Con questo Atelier avrete l'opportunità di andare "a bottega" con un docente di montaggio della Civica Scuola di Cinema Luchino Visconti di Milano, che insegna Premiere da 7 anni e che da 20 lavora professionalmente nel campo dell'audio-visivo.
Naturalmente non ci rivogliamo solo a futuri studenti della Civica ma anche a tutti quei professionisti (od aspiranti tali) che sia nel pubblico che nel privato, vogliano rendere solide le proprie conoscenze di Premiere Pro e del linguaggio stesso del montaggio

Impareremo a conoscere e ri-conoscere i codici principali di questo linguaggio sperimentando con Premiere, cercando di piegarlo a nuovi scopi, non solo artistici, propri della nostra epoca.

PROGRAMMA

Scrive Andrej Tarkovskij nel suo libro Scolpire il Tempo: “Immagino così il modo ideale di fare un film: l’autore prende milioni di metri di pellicola (o milioni di ore registrate digitalmente su centinaia di Hard Disk) sulla quale, di seguito, secondo dopo secondo, giorno dopo giorno e anno dopo anno è stata seguita e fissata, per esempio, la vita di un uomo dalla nascita fino alla morte, e da tutto ciò, per mezzo del montaggio, tira fuori un'ora e mezzo di tempo sullo schermo […] e sarebbe interessante anche immaginare questi milioni di minuti passare per le mani di diversi registi/montatori in modo che ciascuno ne tragga il proprio film: quanto ognuno differirebbe dall’altro!”

Tarkovskij scriveva questo nei primi anni ‘70 e parlava di film. Allo stesso modo questa “provocazione” artistica può essere valida ancora oggi nell’epoca digitale non solo per i film di “finzione” ma anche per il documentario e/o per il cosiddetto “Cinema del Reale”, in generale per un qualsiasi reportage video, anche piccolo.

Benché nella realtà sia impossibile ottenere questi milioni di ore di girato, questa condizione di lavoro “ideale” non è così irreale e a essa si può e si deve tendere. In che senso? Si tratta di scegliere e di unire brani di fatti in successione, sapendo, vedendo e sentendo esattamente che cosa si trova fra loro, che genere di continuità li collega.

Attraverso la scelta di un argomento e di materiale reperibile sul web di tale argomento proveremo a montare e “ri-montare” dal blocco del tempo che racchiude le principali riprese da noi scelte attinenti all’argomento un nostro prodotto che riesca ad esprimere, attraverso l’arte del montaggio, la nostra personale visione dell’argomento scelto.

Non dimentichiamo che questa tecnica può essere utilizzata non solo dall'artista/regista ma per esempio anche dal conferenziere che voglia implementare l’esposizione di una sua relazione, dall'insegnante che voglia coinvolgere maggiormente i propri allievi nelle sue lezioni, dagli stessi studenti che vogliano rendere più performanti e multimediali i loro elaborati o tesi.

Programma per temi

  • Generalità del montaggio
  • Le regole della continuità
  • Gli schemi di montaggio
  • Editing e cutting
  • I raccordi
  • Organizzazione performante media
  • Capacità di osservazione riprese
  • Abilità nella selezione giusto take
  • Accurata scelta IN ed OUT
  • Precisione nell'accostare due tagli
  • Equilibrio e ritmo del montaggio
  • Giusto bilanciamento audio, suoni e musiche
  • Color correction, grade, titoli, mix audio ed export

Requisiti minimi richiesti agli studenti (dotazione tecnica)

  • PC o Mac con installato Adobe Premiere Pro (definitivo o trial di un mese)
  • 8-16 gb di memoria
  • Wifi con buona connessione
  • Account Google per usare Google Docs
  • Consigliato l’uso di un monitor esterno aggiuntivo, specialmente se si usa un portatile.

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Duration: 
30 ORE
Price: 
€ 350,00
Qualification: 
Attestato di frequenza
Awarded by: 
Civica Scuola di Cinema Luchino Visconti
Contact: 

INFORMAZIONI E CONTATTI corsibrevicinema@fondazionemilano.eu

Coordinatore del Corso: Stefano Anselmi
EMAIL stefano.anselmi@scmmi.it

The Craft of Directing 2 - Creating the Space for Acting

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Course for emerging and experienced directors - Part 2

Creating the Space for Acting

Young Directors are full of ideas, concepts, imagination, energy … but there is one problem: how to transform it into a stage language, how to communicate with actors, how to organise one’s own artistic energy?

Jurij Alschitz, who has staged a multitude of performances all over the world, will reveal the secrets of his experience as well as the innovative tools for the new dramaturgical formats of 21st century theatre. He has choses three most important subjects for directors:

The performance as a space of events

We may have to repeat what we mean by a classical event, but we all know that the understanding of “event” has changed. Above all, the way we deal with it has changed.
Today we speak of the sphere of events, or of pixels of a performance … or of the non-event as the principle of artistic narrative … or of a performance as an explosion of images …
We are thus approaching so-called quantum cognition, which leads us to non-linear thinking. This cultural phenomenon is already anchored in young art production. How does one deal with it professionally? What does this mean for the art of directing?

Seven secrets of unfolding text and action

Text analysis is a cold word and yet it is the source of energy par excellence. What keys do we have at our disposal? Concepts have conquered the stage. Exciting as they may be, from the point of view of acting energy, they have quite a short life span. So how can we generate the vitality of the ideas that exist behind them so that they become the driving force of the play?

The mastery of conducting rehearsals

Are there rules for the relationship between actors and directors? Which ones lead to trustful creative work? How can the process be organised? What rehearsal methods do I have at my disposal? It is precisely because rehearsals in theatre and especially in independent companies are conducted in a non-hierarchical way that the question of the artistic sovereignty of the director arises in a very special way. It is the art of setting tasks, of mobilising the actor’s imagination, of forming an ensemble for a common artistic vision. 

3 sessions of 3 hours, Friday 3-6 pm UTC+1
If you cannot attend one of the sessions, you can watch it online until the next one.
The whole course is divided in three parts, each topic can be attended separately.

register here

 

Level:

Duration: 
3 + 10 + 17 December 2021
Price: 
120 €
Qualification: 
certificate
Awarded by: 
World Theatre Training Institute AKT-ZENT research centre of the International Theatre Institute
Contact: 

World Theatre Training Institute AKT-ZENT
research centre of the International Theatre Institute

The Craft of Directing 1 - The Art of Composition

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Course for emerging and experienced directors - Part 1

The art of composition is the art of construction – of the role, the performance, or a play. It is the art of the director to link scenes, word images, emotions, themes, light, sound, etc. and to connect them in the most diverse ways. It is the art of combination, of leading and subordinating, of harmony and chaos. Montage shows itself to be an important part of the art of directing. Where should one start? What is important, what is not? On the basis of which definition of composition do I ask my questions? Are you aware of the difference between composition and the structure of a performance?

Composition is a sort of artistic language – this language is understood without words. The art of composition is particularly important for the modern language of the stage, because it shows the clarity of directing as if under a burning glass. It is compass that gives orientation to everyone – the artists on stage and the audience. 

Before you begin with a composition, you must know its laws and way of life. Composition in contemporary theatre is not just a technical form, but also a living one: it breathes, speaks to us and conveys the content of the play and the idea. The largest percentage of the success of a performance is based on a brilliant, dynamic composition of the director.

With this practice-oriented course, you can expect to learn a number of things beyond general school knowledge: about the many different types of composition, about secrets of montage and energy management, and how to approach theatre from a compositorial point of view.

3 online sessions of 3 hours
If you cannot attend one of the sessions, you can watch it online until the next one.

register here

Level:

Duration: 
20 + 24 + 27 November
Price: 
120 €
Qualification: 
certificate
Awarded by: 
World Theatre Training Institute AKT-ZENT research centre of the International Theatre Institute
Contact: 

World Theatre Training Institute AKT-ZENT
research centre of the International Theatre Institute

Art + Critique: Critical & Contextual Studies in Art Practice Online Course

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This course integrates practice and theory in a comprehensive programme that emphasises critical inquiry in art practice. The curriculum will help you develop your practice and research in a series of lectures, seminars, workshops, tutorials and off-site visits.

The course addresses our concepts of art, how they are being transformed and the problems of making art in the broader context of social conflict. The curriculum surveys the histories and discourses of contemporary art, demystifies the art world and provides multiple entry points into critical theory. The programme fosters collaborative study and provides practical tools in workshops and group feedback sessions.

By the end of the course participants will have a critical awareness of contemporary art, with a road map and toolbox of resources for their continuing practice and the confidence to pursue it independently. The course is open to everyone but it is particularly suited to those who have a background in art and wish to develop their practice.

Art + Critique: Critical and Contextual Studies in Art Practice Online course
14 Oct 2021 – 10 Mar 2022, Thursdays 18:30-20:30 GMT+1 (BST)
The course takes place over two terms with a 4-week winter break
Course fee £340 / Concessions £272 (student, unwaged, disability, senior). If the course fees are a barrier to your participation please visit the website to get in touch so that we can find a way to make it more accessible for you.

For detailed information please visit the website and download the course outline:
https://videomole.tv/artncritique/

Please visit the website to register. The course is delivered online, participants will receive a course pack with detailed information at least three days before the course begins. Please read the Learning Agreement before registering.

If you have any questions please visit the website and use the contact form to get in touch.

Level:

Duration: 
14 Oct 2021 – 10 Mar 2022, Thursdays 18:30-20:30 GMT+1 (BST) The course takes place over two terms with a 4-week winter break
Price: 
£340 / Concessions £272 (student, unwaged, disability, senior).
Qualification: 
This is a non-accredited course.

Host & Provider:

Contact: 

https://videomole.tv/artncritique/

Solo - the devised Monologue

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Christine Schmalor
Online intensive-course: 26. September + 17. Oktober + 31. Oktober 2021
from 15-18:00 plus individual Coaching

The SOLO course consists of 3 joint meetings with 3 hours each and a one-hour personal coaching session the following week; dates by arrangement. Each meeting has a clearly outlined theme, so you can choose to attend all or just one. After each meeting you have the opportunity to deepen the topic and apply it to your own project in the personal coaching session with me.

SOLO 1 – Above All (26. September)
FINDING my theme – OPENING all dimensions of a theme – GIVING VOICE to my theme

SOLO 2 – The creative mind flow (17. Oktober)
Intertextuality – game and chaos – THINK BIG!

SOLO 3 – Composition (31. Oktober)
Building your fundament – your compass – your ARTISTIC LANGUAGE

This intensive workshop supports artists who are creating a monologue, monodrama, solo performance or their own devised theatre evening. Whatever you want to call it, you need a roadmap for your steps. Simple practical advice can be found everywhere. But then the journey into the unknown begins. How do I structure my own artistic path? What do I need to keep in mind? What tasks should I set myself so that I can really break new ground?

You might have already a vague subject or a collection of artistic material, but how to work with it? We will touch the following subjects:

- The artistic work with a theme and its practical implementation.
- Steps to unfold your creative mind-flow.
- The process of creation through intertextuality: discovering new patterns of speech and thought that, in particular, inspire playfulness.
- The art of composition as the basis and compass of designing a monoperformance.

This intensive course is aimed at theatre artists who are planning their own project or are already in the process and could use support.
After the first course in June 2021, which was enthusiastically received but proved far too short, I have decided to expand the programme and offer three meetings instead of one, each with more practical exercises to try out immediately together.

Level:

Duration: 
26 Sept + 17 Oct + 31 Oct 2021
Price: 
whole course 120 € (3 meetings + 3 coachings) single 50 € (1 meeting + 1 coaching)
Qualification: 
certificate
Awarded by: 
World Theatre Training Institute AKT-ZENT research centre of the International Theatre Institute
Contact: 

World Theatre Training Institute AKT-ZENT / ITI
+49 30 612 87274
https://theatreculture.org

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