tag:blogger.com,1999:blog-46283573660724035782023-11-16T03:50:32.034-08:00DramaMasterClassesSeibelby Michael Seibel
Michael Seibelhttp://www.blogger.com/profile/13835641122746048948noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-4628357366072403578.post-954042086509526052011-04-16T08:23:00.000-07:002013-01-24T09:50:30.402-08:00DramaMasterClasses Michael Seibel <div dir="ltr" style="text-align: left;" trbidi="on">
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<b style="color: orange; font-family: Arial, Helvetica, sans-serif; font-size: xx-large;">Place: Iceland</b><br />
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<span style="color: orange; font-family: Arial, Helvetica, sans-serif; font-size: x-large;"><b>Date: 2nd – 7th Mai 2013</b><o:p></o:p></span></div>
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<span style="color: orange; font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Hours: Thursday - Tuesday
from 16pm - 21pm</b><o:p></o:p></span></div>
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<b><span style="color: orange; font-family: Arial, Helvetica, sans-serif; font-size: large;">Information: </span></b></div>
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<span style="color: orange; font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>http://dramamasterclassseibel.blogspot.com</b><o:p></o:p></span></div>
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<span style="color: orange; font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Contact: masterclassseibel@gmail.com</b><o:p></o:p></span></div>
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<span style="color: orange; font-family: Arial, Helvetica, sans-serif;"><b><span style="font-size: large;">Language: English - Translation in
Icelandic if necessary</span></b><span style="font-size: large;"><o:p></o:p></span></span></div>
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<b><span style="color: orange; font-family: Arial, Helvetica, sans-serif; font-size: large;">Content:</span></b></div>
<span lang="EN" style="color: orange; font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Acting - a phenomenological approach on
theatre</b></span><br />
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<span class="longtext" style="font-size: large;"><b>General Thoughts: </b></span><b><br />
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<span class="longtext">The encounter with the Theatre is an open invitation,
which requires mental emotional and physical readiness on the other, the new
and the different.</span><br />
<span class="longtext">Any involvement with the theatre is a process of
understanding, description but also performing that, which is changing and
transforming each time. A process that is drafting answers to fundamental
questions relating to a theatrical approach, drama performance and stage
presence in general. Play, directing, acting and aesthetics are issues that
must be answered in every age.<o:p></o:p></span></span></div>
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<span style="color: orange; font-family: Arial, Helvetica, sans-serif;"><span class="longtext"><span lang="EN" style="mso-ansi-language: EN; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">In my own theatre research and quest the encounter with the theatre led me to
the formulation of a different approach, which I call phenomenological.</span></span><span lang="EN" style="mso-ansi-language: EN; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br />
<span class="longtext">This phenomenological theatre approach, as I understand
and define it, in order to capture the current theatre reality as well as its
different perspective, is based on new concepts and methods. These very
concepts and methods will be the issues of the seminar I will present as follows.<o:p></o:p></span></span></span></div>
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<span class="longtext" style="font-size: large;"><b>1<sup>st</sup> Day:
The phenomenological theatre approach </b></span><b><br />
</b><br />
<span class="longtext">In general, phenomenology refers to the learning of that
which appears. Learning of the phenomena according to “Husserl” is as a method
of description and presentation of "being" a thing in the way it
appears by itself.</span><br />
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With t<span class="longtext">he term 'phenomenological approach’ I mean a
combination of Focusing, Person-Centered Approach and Choreology, as I convey
these concepts in the theatre field.</span><br />
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<span class="longtext"><b>• Person - centered
Approach: </b></span><b><br />
</b><span class="longtext">The person-centered approach basically comes from the
area of humanitarian psychology. The basic principles can be applied and
transferred into other areas, like philosophy, theology, sociology, social
anthropology and of course art.</span><br />
<span class="longtext">In the center of this approach lies the concept of the
Person. Its main tool which is the relationship is based on three fundamental
conditions, empathy, unconditional regard as well as congruence -
Self-knowledge.</span><br />
<span class="longtext">A structured relationship by these circumstances and with
the main concern of the understanding of the other (the theatrical text, the
role of fellow-actor, the public ...) can be seen by the actor as a useful tool
in attempting to approach the theatre role in a different way.<o:p></o:p></span></span></div>
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<span style="color: orange; font-family: Arial, Helvetica, sans-serif;"><span class="longtext"><b><span lang="EN">• Focusing:</span><span lang="EN" style="font-size: large;"> </span></b></span><b><span lang="EN" style="mso-ansi-language: EN; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br />
</span></b><span class="longtext"><span lang="EN" style="mso-ansi-language: EN; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Focusing, is a specific way to approach a situation, a person, a problem, a
theatre role, any question or concern that is important to us.</span></span><span lang="EN"><br />
<span class="longtext">The difference from other methods is the attempt to focus
in what we call "body intelligence" that can give us a different kind
of knowledge beyond the intellectual and emotional.</span><br />
<span class="longtext">Through very specific steps, Focusing leads us back to a
forgotten knowledge that exists within us, within our body but usually ignored
or not even taken into account. So the body for the actor ceases to be only a
simple tool, a throughput machine or a medium of expression but becomes an
inexhaustible source of inspiration and creativity.</span><br />
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<span class="longtext"><b>• Choreology: </b></span></span><span class="longtext"><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br />
</span></span><span class="longtext"><span lang="EN" style="mso-ansi-language: EN; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Choreology is the science that examines, analyzes and records the movement
of the human body. The Father of Choreology is R. von Laban, who worked on the
analysis of body movement and function rather than the psychological part.</span></span><span lang="EN"><br />
<span class="longtext">Using his method in acting training, we are able to be
aware of our body, to know it better as well as to extend its capabilities and
so gaining a kinesiology code.</span><br />
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<span class="longtext">During the <b>1<sup>st</sup></b>
day the participants will learn about these 3 methods and techniques related to
transfer these concepts into the theatre.</span><br />
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<span class="longtext" style="font-size: large;"><b>2<sup>nd</sup> Day:
The concept of the here and now as the main power of the actor in the creative
process</b></span><b><br />
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<span class="longtext"><br /></span></span></span><br />
<span style="color: orange;"><span lang="EN" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span class="longtext">The fact is that life happens always in the here and now.
Past and future are thought games and have no connection to real life. Like
life, so the theatre happens always in the here and now. What the viewer lives
in the here and now during the performance can only be experienced consciously
by him, if the actor uses this here and now as a main power in both the
creative process as well as the reproduction of it on stage.</span><br />
During the <b>2<sup>nd</sup></b> day the<span class="longtext"> participants will have the opportunity to realize the power of
the here and now and to learn step by step to exploit this power for the creative
and reproductive process. <o:p></o:p></span></span></span></div>
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<span style="color: orange; font-family: Arial, Helvetica, sans-serif;"><span class="longtext"><b><span lang="EN" style="font-size: large;">3<sup>rd</sup> Day: The nature of the body.
Dealing with the body as the main tool of the actor through Terlusollogy</span></b></span><b><span lang="EN" style="mso-ansi-language: EN; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br />
</span></b><span lang="EN"><br />
<span class="longtext">The Terlusollogy is teaching consciously lived polarity.
Two specific effects (sun and moon) in the nature of the Earth (Terra = earth)
form the basis of this polarity. The polarity is determined by the position of
the moon (Luna = moon) and the Sun (Sol = sun) in relation to the earth. This
polarity is experienced and can be scientifically proven in many ways.</span><br />
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<span class="longtext">The basis of all these observations is the polarity of
breath. The external astronomic order at birth leads to a significant entry in
the respiratory center in the brain throughout the duration of our lives. So we
differentiate between the type of inhalation or lunar breathing type and type
of exhalation or solar breathing type. Both, inhalation as well as exhalation
can be supported by everyday behaviors such as sitting, standing, walking,
lying down and nutrition. So it seems natural to bring forward that someone has
a special body behavior according to his type of breathing.</span><br />
During the <b>3<sup>rd</sup></b> day, <span class="hps">participants will learn</span><span class="longtext"> to use </span><span class="hps">body and</span><span class="longtext"> </span><span class="hps">voice</span><span class="longtext"> </span><span class="hps">in accordance to their</span><span class="longtext"> </span><span class="hps">body nature</span><span class="longtext">.
This knowledge </span><span class="hps">is</span><span class="longtext"> </span><span class="hps">very</span><span class="longtext"> </span><span class="hps">important to
the development</span><span class="longtext"> </span><span class="hps">of their
physical and</span><span class="longtext"> </span><span class="hps">vocal</span><span class="longtext"> </span><span class="hps">skills.</span></span><span lang="EN-GB"><o:p></o:p></span></span></div>
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<span style="color: orange; font-family: Arial, Helvetica, sans-serif; font-size: large;"><span class="longtext"><b><span lang="EN-GB">4<sup>th</sup> </span></b></span><span class="longtext"><b><span lang="EN">Day: Improvisation: Free spirit and
imagination, unconditional observation, conscious spontaneity and body memory
as fundamental tools for the communicative process of the actor between himself
and his animated and inanimate partners on stage</span></b></span></span></div>
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<span class="longtext">Creativity is characterized by the interplay of free sprit
- imagination and spontaneity as well as </span><span class="hps">their</span><span class="longtext"> </span><span class="hps">stabilization</span><span class="longtext"> </span><span class="hps">as</span><span class="longtext"> </span><span class="hps">an</span><span class="longtext"> </span><span class="hps">expression</span><span class="longtext"> </span><span class="hps">that is</span><span class="longtext"> </span><span class="hps">visible and hearable</span><span class="longtext"> </span><span class="hps">through</span><span class="longtext"> </span><span class="hps">the actor’s
body.</span><span class="longtext"> The stabilization of expression through the actor’s
body lies first in the conscious process of a silent observation. This
observation is an implied condition for the realization of any kind of
expression through the body. The sense of a move enables us to repeat this
movement, something which constitutes once again the condition of storing it in
the body. Recalling that stored in the body movement is the basis for reproducing
the same movement in the acting process.</span><br />
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During t<span class="longtext">he <b>4<sup>th</sup></b>
day the participants will learn how to practice these fundamental creative
processes and will become able to activate these processes independently.</span><br />
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<span class="longtext" style="font-size: large;"><b>5<sup>th</sup> Day:
Status through the power of now</b></span><b><br />
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<span class="longtext">As the person in everyday life, so the actor constantly
changes behaviors depending on the requirements of the theatrical character, of
the space and the objects on stage.</span><br />
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<span class="longtext">Here comes the games status.</span><br />
<span class="longtext">First, what means the word status; Let's describe it as
"the interplay of sovereignty and subjugation of social constraints and
their reactions.</span><br />
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<span class="longtext">The aim of the seminar will therefore be based on
different improvisation exercises, discovering to the actor first of all his
personal and his social status and afterwards the status of theatre roles as
well as their inversion. It means to understand the impact of voice, posture,
movement and space on the issue of status.</span><br />
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<span class="longtext">To become aware of the above through the power of now,
will help us concerning a plain presence of the actor on stage. The actor senses
the performance and action of his partner, thus avoiding blockages in the
creative flow of his stage presence.</span><br />
<span class="longtext">This particular method of teaching improvisation through
the here and now, <o:p></o:p></span></span></div>
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<span style="color: orange; font-family: Arial, Helvetica, sans-serif;"><span class="longtext"><span lang="EN" style="mso-ansi-language: EN; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">is based on the re-discovery by an adult intellectual imagination and
creative power.</span></span><span lang="EN" style="mso-ansi-language: EN; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br />
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Aim of t<span class="longtext">he <b>5<sup>th</sup></b>
day is to open foundational paths, so that logic stops to dominate. In this way
we welcome the concept of here and now, as well as the free spirit. Both lead the
actor beyond logic.<o:p></o:p></span></span></span></div>
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<span class="longtext"><span lang="EN" style="color: orange; font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="font-size: large;"><b>6<sup>th</sup> Day: Conclusion and review</b></span><o:p></o:p></span></span></div>
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Michael Seibelhttp://www.blogger.com/profile/13835641122746048948noreply@blogger.com0