Actor's Practice Evening

YOU ARE YOU
An intensive of Freedom Bound: foundational actor's practice

Monday March 24
7 - 10pm
$40

This Workshop will approach the necessities of creating a foundational actor's practice by combining work taught in longer weekend intensives and ongoing weekly worksessions in order to isolate, coordinate and develop the psychic, physical and vocal aspects of our instruments for deeper expression and revelation of the self in performance.

[via]Corpora Studio
6575 Santa Monica Blvd
Hollywood, CA 90038
Contact: bryan@viacorpora.com or 213.249.1690

Necessities:
Clothes to move in
Text

You might want:
A long sleeve shirt/sweatshirt (during breaks)
A notebook and pen (time for hunkering)
Water/snack

BRYAN BROWN has studied physical theater extensively in New York City, Europe, and Los Angeles. His latest reconnaissance was 6 weeks in Wroclaw, Poland intensely working with instructors gathered by the Grotowski Institute as well as a profound worksession with Song of Goat (teatr Piesn Kozla). For almost a decade, Bryan has researched with various physical theater investigators including Stephen Wangh and Raina von Waldenburg, Shinichi Iova-Koga, Mary Overlie and other Viewpoints practitioners, the members of Odin Teatret, Commedia dell'Arte instructors, Contact Dance originators, as well as the Royal Academy of Dramatic Art. The deepest application has been the process of creating, leading and learning with various experimental ensembles culminating in the work with Artel.

Developing your Actor's Practice

The Will is in your Actions
Laboratory Theater Work for the foundations of performance training
Based on Eastern European and Russian Traditions

March 22 and 23
11am
4 - 6 hours depending on will of participants that day.

Both days:
$150
$100 (students)
One day:
$90
$60 (students)
Limited scholarships available

[via]Corpora Studio
6575 Santa Monica Blvd
Hollywood, CA 90038
Contact: bryan@viacorpora.com or 213.249.1690


Workshop Description:

Aim -

This workshop aims to provide applicable experiential knowledge for the actor's practice, the incentive to develop the will to practice, and the connection between the will, body and voice that is the heart of the actor's craft through the coordination of intense physicality, rhythm, text and song work.

For those actors with an established practice, exposure to new approaches will deepen and challenge your practice and aim to strengthen your will through active extension of that will into the world.


Practicalities of workshop –

The design of the work is to meet each participant's edge. Through discovery of joy and ease within rigorous discipline as well as the continuous switching of the plugs in our brains (experiencing text as movement, song as text, movement as song, so on), a meeting of new physical, vocal, emotional and spiritual doors is approached. Encountering these doors we experience the opportunity to undomesticate ourselves by entering through them. Whether we choose to or not remains a matter of our will, but repeated experiences begin opening ourselves to deep listening and recognition of our will as both the carrier and dependant of the wills of others, thereby allowing mutuality and musicality to ignite our will towards greater expression, connectivity and presence.


What we hope Participants walk away with –

A desire to never give up on themselves
A new experience of their will and its relation to body, voice and performance
A connection of text with movement/action
The will as the vehicle for expression through Text, song or movement
A sense that one's practice or a new depth in that practice has begun
Potential future collaborators
Exercises for Ensemble Regimen

Necessities:
Clothes to move in
Text (something you are emotionally connected to. Poems or classical text recommended.)

You might want:
A long sleeve shirt/sweatshirt (during breaks)
A few shirts (you will be sweating a lot)
A notebook and pen (time for hunkering)
Water/snack


BRYAN BROWN has studied physical theater extensively in New York City, Europe, and Los Angeles. His latest reconnaissance was 6 weeks in Wroclaw, Poland intensely working with instructors gathered by the Grotowski Institute as well as a profound worksession with Song of Goat (teatr Piesn Kozla). For almost a decade, Bryan has researched with various physical theater investigators including Stephen Wangh and Raina von Waldenburg, Shinichi Iova-Koga, Mary Overlie and other Viewpoints practitioners, the members of Odin Teatret, Commedia dell'Arte instructors, Contact Dance originators, as well as the Royal Academy of Dramatic Art. The deepest application has been the process of creating, leading and learning with various experimental ensembles culminating in the work with Artel.