Thursday, December 2, 2010
Those puckish Grand Guignolers are conspiring to play and revel one more time before 2010 runs out! Come celebrate with the viaCorpora Fellowship!
Grand Guignolers FINAL
Physical Theatre Workout 2010
WEDNESDAY * DECEMBER 15th
Our final physical theatre workout of the year devilishly delves into the spirit of the ancient Roman holiday, Saturnalia. This pagan holiday/festival was the historical pre-curser of the Feast of Fools and the Christmas season featuring gift giving, revelry, misrule, and the reversal of social roles. Death and rebirth. Fool and trickster. Joyous celebration. Post-workout libations.
To stay for the post-workout festivities, please bring your favorite libation and edible treats to share (please let me know what you are bringing to even out the goods... though I suppose 10 bottles of red wine isn't a BAD thing.)
Spaces for this evening are already filling up. BUY TICKET HERE. $18.
ABOUT MELODRAMA PHYSICAL THEATRE WORKOUTS: Join us for a physically theatrical workout to get you out of your head and into your body. Melodrama is the most expressive of Western theatre forms, the one closest to the theatrical impulse, based in physical gesture, high stakes, big characters, big emotion states, spectacle, the struggle of virtue and evil, and all to music. The workshop is somewhere between Artaud's "athlete of the emotions" and cops & robbers. It's cathartic, powerful and FUN! All levels welcome.
$18/workout. WED., DECEMBER 15th 7:30-10 at ArtWorks Theatre. 6569 Santa Monica Blvd., LA 90038. No parking in lot.
Taught by Debbie McMahon, Director/Creator Grand Guignolers.
Friday, October 15, 2010
Grand Guignolers Melodrama Workout/Workshop
PLAY BIG * PLAY FIERCE * PLAY TO SURVIVE
NOVEMBER 3 * NOVEMBER 11
Join us for a physically theatrical workout to get you out of your head and into your body. All levels welcome.
Melodrama is the most expressive of Western theatre forms, the one closest to the theatrical impulse, based in physical gesture, high stakes, big characters, big emotion states, spectacle, the struggle of virtue and evil, and all to music. The workshop is somewhere between Artaud's "athlete of the emotions" and cops & robbers. It's cathartic, powerful and FUN!
Sign up in advance for LIMITED SPOTS. We often have a waiting list. $18/workout. WED., NOVEMBER 3rd and/or 17th 7:30-10 at ArtWorks Theatre. 6569 Santa Monica Blvd., LA 90038. No parking in lot. Feel free to bring drinks for post-workout play.
more dates will be added - please check back here or the website below for details.
Amy Vorpahl & Amanda Street in A Crime in the Madhouse
Friday, September 17, 2010
John Achorn is a master teacher in commedia dell’Arte, having studied with Carlo Mazzone-Clementi; he was an original member of the Dell-Arte Company and was instrumental in the founding of the renowned Dell’Arte School in Blue Lake CA. Mr. Achorn has taught workshops and classes for over 35 years at such institutions as UCLA, UC Santa Cruz, UC Riverside, University of Redlands, UC San Diego, USC, The Children’s Theatre Company of Minneapolis, ARTEL and the Antaeus Company here in Los Angeles. He is an actor, director and writer.
Sunday, August 1, 2010
Tuesday, July 27, 2010
To celebrate the 20+ year anniversary, MIR Caravan returns.
Please visit the site, spread the word, attend the performances and spectacles, and most of all, celebrate.
Friday, April 30, 2010
Come early for on-board travel photos, treats, absinthe and entertainment
Thursday, February 18, 2010
When: Feb 19, 20, 25, 26, 27, March 5, 6, 12, 13, 18, 19, 20 at 8:30pm; March 7 and 14 at 3pm
Dress Code: Dress to impress while enjoying yourself at a night of irrepressible theatre, circa 1930s is encouraged. Wear a moustache (or be prepared to have one given to you) and you'll receive a free soup to accompany the evening's performance.
When you come to see us, forget everything that you have been used to seeing in all other theatres. Perhaps much of it will seem absurd.
Declaring 2010 as the Year of the Absurd, ARTEL is making explosive (re)solutions to the New Year, beginning with detonating notions of theatre as a dramatic servant of literature. While English speaking academics are just now wrestling with Hans-Thies Lehmann’s ten year old articulation of a ‘post-dramatic theatre’, ARTEL ransacks a storehouse constructed eighty years ago by Daniil Kharms when he divined a creative practice of sluchai*, to propose its own poetics of perplexing alogical perspectives formulated for a new decade of twenty-first century theatre.
Daniil Kharms, an early Soviet-era surrealist and absurdist poet, writer and dramatist, was a post-modern artist before the term had any cultural currency. Kharms exploded the conception of theatre as a literary representative, defining the rules of theatre not as dramatic but scenic. By the late 1920s, his anti-rational verse, nonlinear theatrical performances, and public displays of iniquitous and irrational behavior earned Kharms - who always dressed like an English dandy with a calabash pipe - the reputation of being a talented but highly eccentric "fool" or "crazy-man" in Leningrad cultural circles. Exiled briefly during the “relatively vegetarian” days of the early 1930s, ten years later he was imprisoned in the psychiatric ward of Leningrad Prison No. 1. Kharms died in his cell – most likely from starvation – in February, 1942 as the Nazi blockade of Leningrad was well underway. His writings (a vast assortment of stories, miniatures, plays, poems, and pseudo-scientific/
ARTEL has found a kinship in the writings, theories and spirit of OBERIU (Union of Real Art), the avant-garde collective founded by Kharms, that adds a legacy and language to the ways in which the ensemble laboratory has been training performers and devising theatre since its inception. Kharmful Charms of Daniil Kharms is therefore presented as homage to OBERIU whose aesthetic centered on a belief in the autonomy of art from the real world's rules and logic as well as the intrinsic meaning to be found in objects and words outside of their practical function.
By ‘Real Art’, OBERIU intended the creation of an artistic language that refused symbolism and subtext as a means to present realism. The Oberiuty rejected literary drama, in which all the elements are subordinate to the dramatic plot, that is the play as ‘a tale told by people about something that happened’, and in which everything is done on the stage in order ‘to explain the meaning and the course of the events more clearly, more comprehensibly, and in a more life-like way’. ‘Theatre’, said the Oberiuty, ‘has nothing to do with that.’
OBERIU embraced a creativity that demanded “the transformation of the forms of private life into a fact of art”. The promotion of an aesthetic and ethos that blurs life and art has been a main line of research for ARTEL, and coupled with the notion of ‘scenic plot’ was a central dramaturgy for the Bulgakov variations over the last three years.
Derided as literary hooligans in the increasingly hostile atmosphere of 1930s Stalinism, OBERIU survived as a collective for only a few short years, but are considered “the last of the Soviet avant-garde”.
As the cultural weather continues to fluctuate in our own tumultuous times, Kharmful Charms of Daniil Kharms disrupts the experience of daily entertainment routines, challenges the central questions around the role of art, the responsibility of artists, and the creative capacity of all living citizens, and ultimately aims to provoke an incident of love.
You want to find the laws of normality and logic which you think you see in life. But you will not find them here. Why? Because an object and a phenomenon transferred from life onto the stage are no more dependent on the laws of ‘life’ and acquire laws of another kind, those of the theatre. We are not going to explain what they are. To understand the laws of a theatrical presentation you have to see it.
- OBERIU, 1928