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PHYSICAL THEATRE -1 and 2





Mime and Movement is the base from which the physical actor trains, and this workshop offers different tools that the actors can utilize in their work. The mask work brings another dimension to the process of opening the eyes to the body and the essential physical work. This is a workshop where the students can explore:

 ·  The concept of counterpoint and balance (mime work)
 ·  The control of the body with a synergy of movement and
    respiration
 ·  The isolation of different parts of the body
    (choose what you want to move or what you want to fix point)
 ·  Rhythm
 ·  Precision of gestures, movement, direction and space
 ·  Mask work (neutral mask, commedia dell’arte, Balinese)

We decided to create this workshop to nourish the physical actors and give them the means to succeed with the techniques of mime, mask and gestural theatre. To learn how to use the different tools and develop a conscious connection with your body, while developing precision and muscle memory.

Physical Theatre is offered in 2 sections:

Training in physical movement for actors where the neutral mask and the techniques of mime and commedia dell arte masks are used as tools.

Chorus movement and musicality of characters in which we go deeper into the personal work, to integrate it into a group, to create a chorus. The technique of Balinese masks (Topeng) is used as a tool.

James Keylon directs the periods of mime and movement. The movement in mime is based on the concept of counterweight and balance. James uses these two concepts to create a series of exercises where you must concentrate on the control of the body in a synergy of movement and respiration. This work will not be based on emotions, but on the movement techniques.

Geneviève St-Denis directs the movement and mask exercises where she integrates the principals of mime and physical acting. With the exploration of mask work, we can refine the quality and the precision of the movement and the physical expression of the actor. The students develop their capacity of observation and their sensibilities to the expressions of postures and movements.

This workshop is inevitably complementary to clown work.











Francine Côté's Clown and Comedy School | Physical Theatre