{"id":1692,"date":"2017-05-04T13:35:30","date_gmt":"2017-05-04T11:35:30","guid":{"rendered":"http:\/\/www.lamamaumbria.org\/?page_id=1692"},"modified":"2017-05-04T13:35:30","modified_gmt":"2017-05-04T11:35:30","slug":"symposium-session-one-july-17-31-2017","status":"publish","type":"page","link":"http:\/\/www.lamamaumbria.org\/?page_id=1692","title":{"rendered":"SYMPOSIUM SESSION ONE July 17 \u2013 31, 2017"},"content":{"rendered":"
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SYMPOSIUM SESSION ONE –\u00a0July 17 – July 31, 2017<\/h1>\n<\/div>\n
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About The Artists:<\/u><\/strong><\/h3>\n<\/div>\n
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Tamar Rogoff<\/strong>
\nBODY SCRIPTING FOR DIRECTORS<\/em><\/h2>\n
Body scripting is an investigative approach I have been developing for decades to connect my fascination with anatomy to the process of making choreography and directing physical theater.\u00a0 It looks at the circular nature of mind\/body, as the brain directs and the cells\/senses respond\u00a0by\u00a0returning information back to the brain.\u00a0 Places and spaces go into body scripts—the sternum, the space between the nose and the pubis, the cheekbone and the window.\u00a0Our course in Umbria will include experiential anatomy,\u00a0both performing and making body scripts and discussions about how all this applies to directing.. It\u2019s playful, investigative and a way to be specific as well as in the moment. I use body scripting in my job as movement coach to actors, as it heightens their sensitivity and enhances their sense of body empathy for themselves, others on stage, and the audience. We are often stuck in bodies and postures we\u2019ve aligned at an early age in response to our psychological environment. This added to rigid dance\/theater training, can homogenize individuality, lessen range and dampen the imagination. For the last decade in my work with performers with disabilities I\u2019ve begun learning about the nervous system, our mirror neurons and how the energy of imagination is an organizing physical principle.<\/h5>\n
TAMAR ROGOFF <\/strong>is a choreographer and filmmaker who explores the outer limits of how people negotiate extreme circumstances. She combines unlikely company members, always on the lookout for ways to tell difficult stories and explore disparate bodies. The Ivye Project (1994) took place in a forest in Belarus, surrounding the mass graves of Rogoff\u2019s relatives. This became the subject of Summer In Ivye, a documentary made by Rogoff and Daisy Wright, screened at the Hamptons Film Festival. Demeter\u2019s Daughter, a large scale site-work on the streets of the Lower East Side, used a cast and crew of 100, community gardens, rooftops, and schoolyards. Daughter of a Pacifist Soldier was based on the year-long relationship between the company and a community of veterans with PTSD.\u00a0Rogoff choreographed Christina Olson: American Model, a full-length solo at P.S. 122 for actor Claire Danes and Edith & Jenny (2007), an interdisciplinary work for Danes and Ariel Flavin. Diagnosis of a Faun premiered at La MaMa (2009) and the Kennedy Center before touring. For this piece, Rogoff trained Gregg Mozgala, an actor with Cerebral Palsy, to dance. Mozgala and Rogoff were invited to Harvard and Johns Hopkins to talk about his unexpected transformation and Rogoff\u2019s choreographic method she\u2019s named Body Scripting.\u00a0Enter The Faun, Rogoff and Wright\u2019s documentary, premiered at Sarasota, Margaret Mead, and Dance on Camera, among other festivals worldwide.March 28th 2017\u00a0it will be broadcast on PBS. Rogoff was movement coach to Danes in HBO’s Emmy-winning Temple Grandin, to child actor Thomas Horn in Extremely Loud and Incredibly Close, and other actors.\u00a0She is a five-time recipient of grants from the NEA, and has been funded by Dancing in the Streets, Association of Performing Arts Presenters, Rockefeller MAP Grant, the Trust for Mutual Understanding, the New York Foundation for the Arts, the Harkness Foundation, Sundance and the Guggenheim Foundation.<\/h5>\n
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Chiara Guidi<\/strong>
\nTHE “PRESENCE” IN THE REPRESENTATION |\u00a0BETWEEN CHILDHOOD & THE VOICE<\/em><\/h2>\n
I have the feeling that every theatrical action put in place a question about the theater itself and its need.
\nWhich theatre do I look for? Which representation of the world?
\nTo deepen this question, we have to act and, through the experience, \u00a0discover further \u00a0questions. Continuous discoveries\u2026but this process takes time.
\nThe same time the craftsman needs,
\nBecause only the experience and the practice can design a clear picture while remaining obscure.
\nBut how we can feel \u00a0a presence in the representation?
\nHow do we search a theatrical action that could present and take off, that could remain central and dominant in the representation but also faithful to the \u2018uncertainty\u2019 principle?
\nHow can we combine what we see and what we do not see?
\nBecause we cannot limit ourselves only to what we \u2018see\u2019!
\nThe audience, then, may refrain from immediately explaining everything.
\nIn the drama, in the scenic rhythm, in the actions, \u00a0in the theater, an Empty time has to enter, in which the viewer and the actor may spend more time, without being immediately carried away by the narrative pace. A double, triple look that allows you to experience the representation through all your senses: childhood knows it very well
\nThrough four figures: Buchettino from Perrault, Glimmung from the novel by P. Dick “Galactic Healer”, Macbeth from Shakespeare, Oedipus from Sophocles we are facing the questions and, by acting, we will seek other questions that, like the Delphic oracle, \u00a0do not tell, do not hide, \u00a0but show signs.<\/h5>\n
\u201cI believe that my work lies essentially between childhood and the voice, due to both of their ability to rise towards something that cannot as yet be seen, and to believe in that which has not yet come about. This is why I want to remain within the type of culture that children carry inside themselves. Spending time with small children, who live prior to language, I as well can rediscover my voice and wrap up within myself the mystery of life.\u201d C.G.<\/i><\/h5>\n
CHIARA GUIDI,<\/strong> one of the founders of the Soc\u00ecetas Raffaello Sanzio with Romeo Castellucci, now simply the Societas, has been honing her ideas on children\u2019s theatre and vocal experimentation for over twenty years, in order to raise questions as to the nature of theatre and see how, through childhood and the voice, it can become a sonorous experience of language and the word. Between childhood and the voice, there lies an intuition: theatre needs the revolutionary force of children, because through them it is possible to leap into the void opened up by imagination and play; this allows language to be put to the test, and thus adopt a way of listening to that which is not present, but is present.\u00a0Language, upon a closer look, does not come across to children as a whole. Children act on it, conditioning it; and thus the voice, which, as a pure will to speak, is sound, and carries with itself the unveiling force of music. In this way, the voice leads the word to gain a glimpse, within that which is said, of the force of that which is not said.\u00a0The practice of theatre in which Chiara Guidi is engaged, from a vocal perspective and with particular attention to children, turns to play in its search for the possibility of experiencing another vision of the world in which sound becomes palpable and forms are transformed, one passing into the next, just like when children look at a chair and see a horse.\u00a0Just like play, art as well, as Chiara Guidi tells us, does not aspire towards knowledge, and yet generates it. A bit like fables, which are not intended to impart knowledge, and yet teach. And the knowledge that emanates from this process, in which the voice delves deep and lifts veils, generates experience and stresses the process of work. The presence of the child and the unknown horizons of the voice also activate an unexplored path for actors, now called towards a \u201cscenic play\u201d with the same necessity and urgency expressed by children\u2019s games.\u00a0Theatre, for Chiara Guidi, is never a form of entertainment held on the stage, nor does it \u00a0turn to an audience in order to inform it. It is a gesture that has to do with wonder, not communication, and searches for the ideal spectator\u2019s vision in children. Young children express that pristine condition of the gaze that theatre demands; they are the original and \u00a0originating spectators. Chiara searches for this when she creates performances for adults as well.\u00a0The theatre of this director, performer and dramaturge \u2013 who often holds encounters in schools \u2013 requests educators and adults to adopt an attitude of listening, asks children to act according to the rules of the game, and calls for spectators to rediscover their own role of responsibility in seeing and feeling, so as to make their way further, disarmed, into the birth of beauty.<\/h5>\n
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Andrea Adriatico<\/strong>
\nDOCUMENTARY THEATRE: OF FIRES & BATTLES, OF LOOKS & MASSES<\/em><\/h2>\n
Can history be told through theatre – the history that moves and hurts, that amuses and transforms us, the history that develops, explains and makes existence magical?<\/h5>\n
The workshop develops as a personal reflection of the artist’s professional journey. Andrea Adriatico, both in his film and theatre works, has always dealt with the history of his time. The history of simple men and women, busy investigating the present within the expressionist dichotomy that juxtaposes \u201cman and mass,” the individual viewpoint versus the collective issues.<\/h5>\n
ANDREA ADRIATICO<\/strong> \u00a0founded Teatri di Vita, international center for performing arts, in 1993. His shows are characterized by strong attention to the word (Kolt\u00e8s, Pasolini, Beckett, Copi, Jelinek) and by a particular use of the space. His focus is on ‘urgent’ issues, where the politics is intertwined with the intimacy of the living conditions. He presented his shows and films in many festivals.<\/h5>\n
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Caden Manson<\/strong>
\nFRAMEWORKS: DIGITAL DEVISING FOR CONTEMPORARY PERFORMANCE<\/em><\/h2>\n
Frameworks is a set of techniques in digital devising for contemporary performance. It incorporates a new and expanding vocabulary for performance that reflects and embodies our hyper-connected world; it includes exercises for creators, collaborators, and participants in performance works; and it engages in working with contemporary technology. Some of the concepts and exercises that will be introduced are: The Hybrid Body – training the body for simultaneous presence. This topic incorporates movement based training in an awareness of the video camera and its frame; learning multiple presence, or how to accomplish overlapping performance goals through moment-to-moment acting; dramaturgy of the Image; and technical discussions about evolutions in media and the use of technology in performance. Post Internet and New Aesthetic\u00a0– This topic includes developing and coding algorithmic prompts for devising; exercises in aesthetic qualities of reenacting, montage, sampling, looping, and distortion; and embodying the concepts of the timeline, frame rate, and edit.<\/h5>\n
Caden Manson\u00a0is a director and media artist. He is co-founder of the media ensemble Big Art Group, editor at Contemporary Performance, and curates the annual Special Effects Festival in NYC. He has co-created, directed, media and set designed 22 Big Art Group productions. Manson has shown video installations in Austria, Germany, NYC, and Portland; performed PAIN KILLER in Berlin, Singapore and Vietnam; Taught in Berlin, Rome, Paris, Montreal, NYC, and Bern; the ensemble has been co-produced by the Vienna Festival, Festival d\u2019Automne \u00e0 Paris, Hebbel Am Ufer, Rome\u2019s Le Vie de Festival, PS122, and Wexner Center for The Arts. Manson is a Foundation For Contemporary Art Fellow, Pew Fellow, and MacDowell Fellow. He has been published in PAJ, Theater Magazine, Theater der Zeit, and Theater Journal. Manson currently heads The John Wells Directing Program MFA at Carnegie Mellon University\u2019s School of Drama.<\/h5>\n
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SYMPOSIUM SESSION ONE –\u00a0July 17 – July 31, 2017 About The Artists: Tamar Rogoff BODY SCRIPTING FOR DIRECTORS Body scripting is an investigative approach I have been developing for decades to connect my fascination with anatomy to the process of making choreography and directing physical theater.\u00a0 It looks at the\u2026<\/p>\n

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