Workshops
Bewegungstheater /
Physical Theatre
with Mina Tinaburri

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„Art is beautiful, but requires a lot of work“. Karl Valentin

 

The programme

The School provides a professional 10-month training programme for Physical Theatre from September to June including three different modules.
In the teaching, two paths are followed: on the one hand the game and the pleasure of playing as the basis of theatrical creation, the art of acting and its rules, on the other hand, movement and movement analysis.

 

First module
NEUTRALITY AND SCENIC PRESENCE
From the stillness zone to the poetic body

The first module is devoted to the discovery of the physical elements within the art of acting, through the observation of the dynamics of nature through the support of the neutral mask, the "re-creation“ of the world, the materials theatre, as well as the analysis of movement, looking for the “poetic body”.
At the same time, in teaching, theatre games play an important role to wake up the actors' senses and to heighten their focus, to work together on the same level of energy in collaborative work and devising theatre.

These topics take place throughout the study period
PHYSICAL PREPARATION: body and movement training focused on the conscious, dynamic use of the body as an instrument of the actor.
Feldenkrais/stage acrobatics/modern stage dance/ movement analysis.
MOVEMENT ANALYSIS: analysis and de-construction/ Feldenkrais method/ economy of movement and development in space/ Impulse-Space-Rhythm-Balance/ the scenic space/ movement dynamics/ observation and analysis of daily gestures/ physical action/ the relationship between body and space/ the essential dynamics of the human body: pushing and pulling/ scenic balance.
THEATRE GAME - FROM THEATRE GAMES TO IMPROVISATION TO DRAMATIC CREATION:
theatre games, impulse of play, pleasure of play as basis of scenic creation.

THE BASICS OF PHYSICAL THEATRE:  space, body, presence, impulse and pleasure of play, action-reaction, rhythm, scenic balance, climax, duration.
STILLNESS ZONE: play and replay of situations of daily life.
NEUTRAL MASK: calm, silence, balance, economy of movement/ the neutral state/ the large spaces, the horizon, the sea, the heights.
THE MIME-DYNAMIC: nature-dynamic analysis - elements, materials, animals and dramatic transposition.
THE POETRY OF THE INSTANT: theatre of materials.
MIME-DYNAMIC APPROACH TO THE MUSIC
FROM NEUTRAL MASK TO CHORALITY: the Chorus as dynamic body in the scenic space/ from the neutral to the tragic space/ the ancient Chorus and the grand movements in space.
FROM MOVEMENT TO TEXT THROUGH GESTURE /FROM TEXT TO MOVEMENT THROUGH GESTURE: mime-dynamic approach to the text and exploration of the „body of the words“.
MIME-DYNAMIC EXPLORATION OF EMOTIONS, FEELINGS AND HUMAN PASSIONS
THE LANGUAGE OF GESTURE: from the dynamics of the grand emotions in the space to the melomime.
STORYTELLING: the mimenarrator/ from melomime to cartoon mime.

 

Second module
THE UNIVERSE OF THE MASKS
Larval Masks, Expressive Masks, Half Masks of the Commedia dell’arte

The second module of study is devoted to the use of the theatrical mask as introduction to the dramatic fields: the starting point is to learn the basic techniques of mask play to get to how to make a mask, from the larval forms to the expressive masks, to the half masks of the Commedia dell'arte and object theatre. The mask allows a direct access to physical theatre. Playing with the theatre mask means to identify oneself with the character expressed by the mask and to let the actor’s body be directed by the characteristics of the mask.
PHYSICAL PREPARATION: body and movement training focused on the conscious, dynamic use of the body as an instrument of the actor.
Feldenkrais/stage acrobatics/modern stage dance/movement analysis.
MOVEMENT ANALYSIS
THEATRE GAME: FROM THEATRE GAMES TO IMPROVISATION TO DRAMATIC CREATION

THE UNIVERSE OF THE MASKS: form in space/ the metamorphosis of the human body/ the physical interpretation/ the rules of playing the mask.
LARVAL MASKS: the introverts, the extroverts, the animals, the madmen of the village.
FROM THE HUMAN PASSIONS TO THE HUMAN COMEDY: the half masks.
THE HALF MASKS OF THE COMMEDIA DELL´ARTE: Zanni, the Elders, Capitano/ types, functions, lazzi and scenarios/ posture and gesture, animality and the stylization of movement/ rhythm and play of the commedia dell'arte / improvisation techniques / the human comedy.
THE LANGUAGE OF GESTURE: from the white pantomime to cartoon-mime/ from the cartoon to the silent movie pantomime.

THE OBJECT THEATRE
MASK MAKING: designing and creating a theatrically dynamic mask according to Donato Sartori’s method.

 

Third module
THE COMICAL BODY BETWEEN GROTESQUE AND NAIVITY:
The world of buffoons, clown and eccentric characters

The third module investigates the theatrical dynamics which determine the phenomenon of the grotesque and comic. It begins with the study of caricature, parody and satire, exploring the mocking universe of the buffoons in order to move on than to the naive domain of human frailty, the art of comedy and the clown.

PHYSICAL PREPARATION: body and movement training focused on the conscious, dynamic use of the body as an instrument of the actor.
Feldenkrais/stage acrobatics/modern stage dance/movement analysis.
MOVEMENT ANALYSIS
THEATRE GAME: FROM THEATRE GAMES TO IMPROVISATION TO DRAMATIC CREATION

THE SATIRE AND THE PARODY – THE PHENOMENON OF GROTESQUE

THE BUFFOONS, THE FOOLS, THE PROPHETS, CREATURES OF FANTASY AND MYSTERIUM:
the buffoons and their world/ development of the dynamics and tactics of the grotesque play / the search for a different body /the play of parody/ the world upside-down of buffoons/ the buffoon herd / buffoon and tragic text.

HUMOR AND COMEDY – THE PHENOMENON OF COMIC                                                                       
THE CLOWN AND THE ART OF COMEDY: the rules of play/ the relationship with the audience/ the comical body/ the circus clown/ the theatrical clown/ the poetics of individual clowns/ the research of the own ridiculousness/ the entrées/ the performance/ the tragic nature of the comic: the flop/ the comical duo or "the essence of the constant contradiction of human nature"/ Monsieur Loyal and August: the power relationship boss-subordinate / relationship with authority/ the comical trio and hierarchies/ the relationship with objects/ comic timing/ study of gags/ everyday, surreal and absurd situations/ creation of clown sketches.

FROM THE OBSERVATION OF EVERYDAY LIFE AND ANALYSIS OF HUMAN BEHAVIORS TO CREATION GROTESQUE, COMICAL, ECCENTRIC AND SURREAL CHARACTERS AND SITUATIONS.

THE PREPARATION OF AN INDEPENDENT ARTISTIC ACTIVITY: funding opportunities, public relations, theatre network, social security system for artists (Künstlersozialkasse/KSK), contract and insurance matters, copyright and performance rights, self-management, etc.

CREATING AND STAGING A DEVISED THEATRE PRODUCTION
The professional training programme does not only develop an interpretative research, but also communicates a complex view of the theatrical scene, script work, scenic rhythm and directing.
Therefore the School provides students with the opportunity to complete their training on the stage. At the final stage, an ensemble performance is planned as well as the presentation of individual self-managed projects connected to specific topics of study, to be directed in groups or alone. The ensemble performance allows students to learn to work creatively with others to create a performance. The self-managed scenic creations provide a tool for students to test themselves as author-director with the aim to achieve their own artistic and personal independence. To renew the sources of inspiration, students are invited, out of the scheduled classes, to research on daily life, nature, art. The School suggests and organizes visits and participation to exhibitions, productions and panel discussion on theatre history.

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