Four Centres

Jarosław Fret

Comprehensive sessions dedicated to the actor’s dramaturgy. The Change (meaning a situation that got disturbed), and the ability to recognise it, is the main and fundamental aspect of every drama. How an actor, a performer can work for readability of her/his own line of actions? How, by making a live stream of permanent movements, structurise them within their inner microdramaturgical potentiality? How to create a body/text with no recourse to a common body language? The session will confront two main practical ideas which are fundamentally connected in the actor’s craft: the Organic Field and the Dramatic Field, interwoven and depended on each other. As particular tools, the four dramaturgical centres, understood as fields of redistribution of physical energy will be introduced:

  •     the First Centre: the pelvis/coccyx
  •     the Second Centre: the chest/shoulders
  •     the Third Centre: the breath
  •     and contact/perception as the Fourth Body Centre – all of them creating a unique organism/text for incorporated drama
Four Centres

The art of invisibility

Tomasz Wierzbowski and Aleksandra Kotecka

The workshop introduces three-part polyphony, basing on the various musical scales of Georgian music, both folk and religious, and making use of basic musical formulas. Through a selected set of exercises shaped throughout ten years of both teaching and learning experience of the leaders, it aims at developing what may be called a sense of polyphony. Working on a steady breathing, voice emission and color, as well as on close listening during singing – not only to each of the three parts being sung simultaneously, but to the whole vertical aspect of the music performed at a given moment – results in obtaining such a quality of sound where each of the individual voices disappears in the whole of a given consonance and can be no longer distinguished. The art of invisibility is the art of searching for perfect harmony. It is not only the craft of melting away, however, as it also gives the sense of how best to bring the individual back into view. Polyphonic music taken in this approach is a tool for improving the quality of presence of a performer, enhancing their focus and awareness of the big and small composition in which they are placed.

The same principles translate into the rhythm work (including polyrhythm) and merging polyphony with the rhythmical, enhancing the performer’s awareness and coordination.

The workshop is intended both for people who already have musical and singing experience, as well as for those who value music as important in their lives. 

The Field of Play – the Stage of Battle

Przemysław Błaszczak

In this series of sessions which incorporate aikido, we will focus on three main aspects of training: individual, partner-related and group-related. Employing techniques derived from martial arts, we will redefine ourselves in practice in relation to our own bodies, our partners and our group.

Individual training: we will explore ourselves using internal martial arts. The starting point will be to face up to yourself and your limitations, both physical and mental. Individual training will also include teaching aikido falls, rolls and other movement techniques.

Partner training: partner as an opponent. In classical theatre training the relationship with your partner is usually based on a sense of trust and security. In aikido you can engage with a partner who inspires distrust and at the same time ‘lends’ themselves, their body, so that you can progress and make discoveries. The partner can be both a friend and an opponent. Tori and uke. In the relationship with your partner, you always follow a scenario that is familiar to both of you, so in order to physically provoke a conflict situation, we need something to break up this safe space.

Group training: a group is a multiplicity of impulses and a fast-changing situation that calls for keen attention and perfect spatial awareness. Through group exercises and games, we will try to evoke the image of a ‘battlefield’ where you must act with the highest intensity at all levels at the same time, i.e. at the levels of individual involvement, complete commitment in the relationship with your partner, and perfect spatial and group awareness. In our sessions, we will use physical training and work with weapons such as jō (stick-spear), bokken (Japanese wooden sword) and tantō (wooden knife).

The Field of Play – the Stage of Battle