We are made of the same stuff as dreams, wrote none other than Shakespeare.
But what are dreams made of? … Sometimes of stories, experiences, tales and Life!
In some cases the protagonists who animate the dreams have lives far from those lived by those who imagined that dream journey resulting from the unconscious and, precisely those visions of the dream, allow us to give life to people other than us: characters created by our mind. People ask how to become a great actor? Visit our how to become a great actor page to learn about how to become a great actor.
Being able to imagine being able to connect with the interiority of another or another, empathize to understand their stories, create a connection with new attitudes, expressiveness and gestures, managing to make them their own: this is an exercise that is practiced thanks to the theater play. Acting allows you to give LIFE to a character, someone who does not exist in reality, an entity that is the fruit of imagination, creativity and an imaginary universe.
Hence, the path proposed this year will have the character as its protagonist : how to create it, how to characterize it, how to get in tune with it to the point of making it live in a “natural” way on stage. How to give life to this “other us”?
Life is certainly a key word of the course: you will live on stage, you will live a new story and you will live together a new theatrical adventure.
Source from which we will draw to create the character of each member or enrolled in the course, will be texts of ancient or modern dramaturgy, which will be chosen by the teacher following the knowledge of the group to meet the needs and attitudes of individuals.
In this path, designed specifically for adolescents, we will accompany the children in the world of their emotions and, using the techniques of theater and scenic actions, we will help them to express them.
At the center of the lessons there will be, in addition to the construction of the character, also the interpretation that will lead the students to create their own character with modalities of sharing and cooperation in the staging.
The terrain of interpretation is a subtle and delicate space that leads us to listen to what happens inside us and then use it when we act in the role of a character, and vice versa: to compare ourselves, ask ourselves what happens in the minds of those who think differently. from us, or in those who live in a different moment from ours; letting oneself be guided by words to discover the thoughts of a character… all this helps us to know better the world we have inside.
The proposed work, through theater and stage action techniques, will lead the children into the world of emotions, transforming them into movement.
Starting from playful elements, typical of the performing arts, through individual and group games, improvisations and stories, the children will learn to be on stage with the body and with the voice. Particular attention will be paid to techniques that favor the link between the spoken word and the expressive potential of the movement. Creating in movement in close contact with the other \ others opens up a territory made up of surprises and unexpected events, invites us to confront ourselves with perceptive limits and habits, makes us understand that, to use all the possibilities of the body, thought and action must proceed together .
After a first preparatory phase, in which the proposed exercises will focus on:
– body language, music and dance;
– movement and improvisation, self-awareness and relationship with the group;
– breathing and vocal emission;
– approach to character work and collective creation of scenes.
The children will be involved in all aspects of the set-up, in a work that will make them responsible and train them with respect to group work.
The methodology used, which goes beyond the learning of pre-established models, favoring personal research in a very often animative key, will have a dual pedagogical purpose:
– develop both the logical-deductive reasoning (find the logical connections between different situations) and the intuitive-analogical ability (associate images and symbols)
– rediscover the value of the dream as an engine of life.