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performance art workshop
Performance Art Workshop: SITE EFFECT - PAS #78
Submitted by PAS Performance Art Studies on Sun, 05/08/2022 - 12:12
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SITE EFFECT
An 8-day learning program on site-specific and time-specific Performance Art practice in collaboration with STRE!FEN Performance Art Festival in Görlitz (Germany) and Zgorzelec (Poland). Led by the PAS | Team: BBB Johannes Deimling, Laurence Beaudoin Morin and Monika Deimling.
For the third time PAS is collaborating with the STRE!FEN Performance Art Festival in Görlitz and Zgorzelec. After two successful PAS studies in 2020 and 2021 we continue the bonds and exchange that we have established to deepen site-specific performance art research.
Click here to see the process publication of PAS #74 | “SITE SEEING” in 2021
Click here to see the festival catalog of STRE!FEN 2021
The main topic of the collaboration between PAS | Performance Art Studies and STRE!FEN is the site-specific approach to performance art practice, theory and philosophy. Since the start of this collaboration each PAS | Study is researching urban spaces on both sides of the German-Polish border urban spaces that would create a resonance through performance art.
With “SITE-EFFECT” we want to examine the possibilities of urban sites and spaces through performance that would influence the surrounding of a chosen site. The aim is to extend the impact of an action in urban spaces that can be understood as a trigger to provoke artistic side effects.
The city is the ‘classroom’
The focus of PAS #78 | “SITE EFFECT” is the site-specific and time-specific approach of performance art practice, theory and philosophy. The border cities Görlitz (Germany) and Zgorzelec (Poland) will be our classroom and the center of attention for the site-specific artistic research which will lead to public performances at different spots in the cities – on both sides of the border. We will explore and discover the border cities by bike and by foot and research its historic, political, architectural and social potential for performance art purpose.
Site-specific performance art
“If you work site-specific, you need to be very specific with the site” (BBB Johannes Deimling)
The term site-specific describes artistic production in close relation with a physical site. Since its appearance in performance art the term “site-specific performance” has influenced and inspired performance art practice and theory until today.
One could state that each performance work is site-specific since it is always happening in a spatial context and corresponding in one way or the other with the surrounding in which it appears. This thought is supported by the fact that our human body is not able to leave space since it surrounds us the moment we start growing in the uterus.
But the term “site-specific” describes not only a form or state of being but more a working method, a research practice which resonates in so many fields alongside the arts: ecology, humanity, history, politics, time, etc. The spatial context, the site-specific aspect of artistic production, presentation and perception is a reservoir of diverse and – it seems – endless artistic potential to create site related artworks.
The site-specific research is strongly connected to time. A performance will look different in a context of time that goes as far as the site-specific research. It is not only the context to the current situation, but also very profound aspects like day and night or summer and winter or any other connection that time can build in cooperation with a space. The dialogue between site and time will generate vivid artistic research that will create strong and responding performance art works.
STRE!FEN
The German word “Streifen” means stripe, but also to touch, to graze, to roam, to swipe and combines a lot of other sensual meanings. STRE!FEN stands in its meanings firstly for the abstract form, which can be space, border and connection at the same time, secondly for the light, gentle touch and thirdly for the unintentional but exploratory movement. A special space. A special contact. A special movement.
The various meanings of the word “Streifen/streifen” will be the method of our artistic research. Görlitz and Zgorzelec are used as an art space, we work in the social, cultural and political context of the city, we deal with local conditions and structures, architecture, history and above all – with the people.
The border between Görlitz and Zgorzelec is marked by a river (Neiße) a moving stripe which is a contact point, gentle and careful, sometimes unintentional, a sensing, exploring and a first perception of another existence. How do we meet each other? How do we go on? Are we curious about each other?
Schedule:
14 August 2022: official start 10:00, place to be announced
14 – 20 August 2022: practical studies and research in both border cities
20 August 2022: final presentation (throughout the whole day at different locations in the cities)
21 August 2022: reflection, brunch and closing day, departure (15:00)
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Duration:
14. – 21. August 2022
Date:
August, 2022
Price:
Regular fee: € 310 (Price does NOT include travel and accommodation costs) Early bird price: € 250 for registrations until 1. July 2022.
Qualification:
Certificate and the medal of performance
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Performance Art Workshop: Distorted Horizon - PAS #76
Submitted by PAS Performance Art Studies on Sun, 05/08/2022 - 11:52
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DISTORTED HORIZON
A 7-day learning program on performance art in urban spaces in collaboration with KTO teatr, Kraków, Poland with a public presentation day at old market square in Kraków. Led by BBB Johannes Deimling.
If we are lost in a city, we take our phone and check our location, type the place where we want to end up and just follow the proposed instructions. To reach our destination is often more important than the way itself, so we stick to the lines on the map and navigate through the city labyrinth. And we can assume that we are not the only ones walking in this way. Others might not need these maps anymore, because they know their ways and even shortcuts. And a cat moves very individually through the city like humans would probably not do.
A horizon is often described romantically as something wide and open, something far away and something unreachable. But even in the city we have horizons, and they change by each turn we take and every step we go further. It is often close and shifts due to the movement inside the city architecture. The city horizon seems to be reachable, and we know that another horizon opens up the closer we approach it.
When we walk down the street, the lived reality deviates from what we can see on our screen or on the city map. While we roam around in the city, we leave traces of our presence behind and discover with each step the space in front of us. A particular atmosphere is created by the rhythms of the steps, the crossings, the stops, the detours, the gatherings. A sound texture made of snippets of conversations and horns, a hole in the sidewalk or a puddle to go around, a prohibition sign or an attractive shop window come to inform our experience of the city. They distort our horizons. In the distortion is the experience of the city and it’s personal and collective appropriation.
Distortion is the alteration of the original shape of something, such as an object or a situation. In the art world, a distortion is any change made by an artist to the size, shape, or visual character of a form to express an idea, convey a feeling or enhance visual impact.
In PAS #76 | “Distorted Horizon”, we will explore the city from an angle that is between specific locations: what is happening in transit, on our way and how we can use these observations to create performance art works that are focusing on the personal horizons of the people and their transition movements. We try to capture the energy that runs through the streets and reveal a surprising, captivating, and rich dialogue with the urbanity.
Based on this research we will present our final performance in the heart of the city Krakow: On the old market square where all these aspects are condensed in one place. The performances will question how we can we contribute with a distortion to attract attention and how to establish an artistic dialogue.
Schedule:
5 July 2022: official start 10:00 at KTO teatr (Jana Zamoyskiego 50, 30-523 Kraków)
5 – 10 July 2022: practical studies and research in the city of Kraków
10 July 2022: final presentation (throughout the whole day at old market square in Kraków)
11 July 2022: reflection, brunch and closing day, departure (15:00)
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Duration:
5 -11 July 2022
Date:
July, 2022
Price:
Regular fee: € 450 (Price includes accommodation and meals, but not travel costs) Early bird price: € 390 for registrations until 30 May 2022
Qualification:
Certificate and the medal of performance
Host & Provider:
Provider's Link:
Ritual Performance - Dionysus and The Bacchae
Submitted by WTTI on Tue, 03/15/2022 - 17:06
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Course for actors, performers, directors, teachers with Dimitris Tsiamis
"Art and ritual, from the depths of antiquity, are inextricably linked. In contemporary theatre we observe a re-approach of the ritual through performances that seek a more substantial connection with the Other and the Unknown, focusing on the transformative and transcendental character of the artistic experience."
Dimitris Tsiamis
How familiar are we and how well do we know Dionysus, the God of Theater? Dionysus, the youngest and most famous Olympian god, the God with the dozens of names (Bacchus, Bromios, Eleuthereus, etc.) and the countless appearances (God of wine and ecstasy, god of fruitfulness and vegetation, etc.) is also the most enigmatic. Which versions of Dionysus do we meet in Euripides’ Bacchae and how much does the tragedy help us to understand him? To what extent could the understanding of Dionysus mean a deeper understanding of Theater?
In Euripides’ Bacchae, the arrival of Dionysus does not project a world “like a fairy tale” but a primitive world in which the forms of every creative and destructive element are revealed. Dionysus asks us to acknowledge his divine existence and to follow him even if we have not understood him. He introduces us to his ceremonies and cults so as the City can benefit from them. He punishes the political power – the tyrants – who do not honor him.
Continuing the line of online courses on the relationship between Ritual and Theater the aim of the course is to introduce the participants to the myth and spirit of Dionysus, as well as to Euripides tragedy of the Bacchae that – more than any other Greek tragedy – has been for a long time the focus of an intense interpretative argument. We will approach the Bacchae of Euripides through the principles of Ritual Performance practice and we will investigate practically – as a ritual – the arrival of Dionysus, his entry on stage and his first and so decisive monologue in the play, which announces the mysterious and contradictory elements of his nature.
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4 / 7 / 11 / 14 April 2022 always from 16:00 – 19:00 UTC+2 | Berlin time
Date:
April, 2022
Price:
90 €
Qualification:
certificate
Awarded by:
World Theatre Training Institute AKT-ZENT research centre of the International Theatre Institute
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The mastery of professional directing
Submitted by WTTI on Tue, 03/15/2022 - 16:55
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Five Essentials for Directing
Five intensive meetings of two days each, online
We talk about the art of directing and the craft of directing. In summation, we will get the mastery of professional directing.
Jurij Alschitz, who has staged a multitude of performances all over the world, will combine the classical school of craftsmanship with innovative techniques in this course. Your own mastery can be seen when you can confidently deal with a wide range of options and start experimenting on a professional basis.
Directors ask actors to trust them. As artists we should not be afraid to take risks, but as directors we have an enormous responsibility – towards art and towards our actors. The greatest happiness is to create works together – and this process lies in the hands of the director. When it happens, we speak of mastery. There is no recipe for this, but there are professional ways to get there. This course invites you to do so, with 5 topics for 5 meetings over two days each. You can attend one or all of them:
Meeting one. Energy – a matter of life (18/19 May)
Meeting two. Composition – the road of life (25/26 May)
Meeting three. The space of events (1/2 June)
Meeting four. The director’s text analysis (8/9 June)
Meeting Five. The supreme discipline: The director’s work with actors (15/16 June)
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Duration:
18 May - 16 June 2022
Date:
May, 2022 to June, 2022
Price:
360 €
Qualification:
certificate
Awarded by:
World Theatre Training Institute AKT-ZENT research centre of the International Theatre Institute
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Provider's Link:
The Craft of Directing 2 - Creating the Space for Acting
Submitted by WTTI on Mon, 11/01/2021 - 16:24
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Notification of expiration:
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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.
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
Host & Provider:
Contact:
World Theatre Training Institute AKT-ZENT
research centre of the International Theatre Institute
The Craft of Directing 1 - The Art of Composition
Submitted by WTTI on Mon, 11/01/2021 - 16:14
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Notification of expiration:
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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.
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
Host & Provider:
Contact:
World Theatre Training Institute AKT-ZENT
research centre of the International Theatre Institute
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