Susanne Bentley

Contemporary dancer, improvisor, teacher, choreographer & coach

Flower

Embodying text

FR
Improvised physical play with words for dancers and movers.

Using the body as our instrument is the daily practice of a dancer, but how to add vocal expression to our performing? How to feed voice or text back into our bodies as inspiration for movement? This workshop opens the toolbox to using voice in improvised performance, for dancers or movers in the performing and circus arts: skills that can also be transferred to the creation of set performance material.

Inspired by Al Wunder’s Theatre of the Ordinary, Ruth Zaporah’s Action Theater and the work of Andrew Morrish, this workshop promotes an experiential way of learning. Participants discover what they like doing, what they like seeing and take responsibility for developing their own style of theatrical self-presentation.

We start warming up the body and voice using a variety of images and exercises focused towards certain themes for each day. This moves into performances for other participants where we learn by doing and watching. The experience of creating with a public present is an essential part of the process. Feedback sessions help both the performer and public evaluate their preferences, strengths and foci, to further improve the experience from both angles.

Optional (for programmers): An optional workshop addition to the improvisational side of the work is to expand on participants discovered aesthetics and spend time on setting their own material, performing it and getting feedback. As this is quite time consuming it is not recommended for workshops of less than 20hrs.

“Your workshop was one of the highlights of my experience in Vienna, thank you for your commitment and direction during that week…You structured the class beautifully and the group of people we had really allowed diverse experiences to emerge… It was wonderful being able to experience this workshop and it allowed me delve a bit deeper into how the voice can coexist with the body in performance. Thank you. ”  – participant Embodying Text @ Impulstanz 2012

“It is true that the workshop had an remarkable impact on me. I decided to do the workshop because I needed to express myself in an other language. I have done only one theater workshop in the past with Lia Haraki and Guy Cools, which I really loved it, so I wanted to try it again, and your workshop didn’t disappoint me! I found again the same feeling of relief after every day of the workshop! and I am grateful for that!
The way of starting from the basics of movement and speech in order to prepare myself to explore different ways of performing is really working on me!!” – participant of Embodying Text @ Danscentrum Jette, Nov 2011

“The human voice is the organ of the soul.” – Henry Wadsworth Longfellow
“Man consists of two parts, his mind and his body, only the body has more fun.” – Woody Allen

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FR
Embodying Text

Jeux physiques ‘au corps à corps’ avec du texte pour danseurs, moovers & circassiens…

Un ‘moover’ utilise quotidiennement son corps comme instrument. Durant ce stage, vous tâcherez de comprendre comment enrichir votre vocabulaire corporel en rajoutant des expressions vocales et vous explorerez aussi comment votre inspiration ‘corporelle et mouvementée’ peut être nourrie par la voix ou le texte. Vous ouvrez la ‘boîte à outils vocale’ lors d’exercices d’improvisation. Vous découvrirez de nouvelles pistes qui pourront être utiles au développement de vos créations et performances de jeu.

Inspiré par le ‘Théâtre de l’Ordinaire’ de Al Wunder, Action Theater de Ruth Zaporah et le travail de Andrew Morrish, ce stage empruntera le chemin de l’apprentissage expérimental. Vous découvrirez ce que vous aimez faire et ce que vous aimez voir, et prendre la responsabilité de développer votre propre style de représentation.

Chaque jour, vous commencerez par un échauffement corporel et vocal grâce à des exercices basés sur des thématiques variées. Ensuite, l’apprentissage se fera, d’une part, en tant que performer et, d’autre part, en tant qu’observateur. Expérimenter ses propositions créatives devant un public concret et présent est une partie essentielle du processus. Les feedbacks donnant des pistes de travail tant à l’interprète qu’au public, l’évaluation des préférences, des forces ou du plaisir d’exécution enrichiront réciproquement l’auditoire et le performer.

Option (pour programmateurs): En addition du cotê improvisationnel, nous pouvons aller plus profondement dans l’aesthetique de chaqu’un et prendre du temps pour fixer leur materiel, montrer et donner des retours/feedback. Comme cette option prendre beaucoup du temps, c’est nes pas recommender pour les stages moins de 20heures de durée.

‘La voix humaine est l’organe de l’âme.’ – Henry Wadsworth Longfellow
‘L’homme consiste en deux parties : son esprit et son corps… Seulement le corps procure plus d’amusement.’ – Woody Allen

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