Comic identity of the body basic level

Practical studies about the clown’s art starting from the recognition of the comic related with the own daily gestuality.

SUMMER SEMINAR 5 days – 25 hours 

DATES

From  7th to 11th August 2023

ADDRESSED TO

Actors, theater and dance students, educators, teachers and any person has curiosity to work on their own comedy. Minimum age 17 years.

I’ve started my artistic studies from the classical theatre and soon I’ve got interested on the gestual theatre, body arts and them global and unlimited possibilities and ways of expression. The characters I’ve played in the beginning of my career had already a physical performance and I used to try to find instantly a way to limitate the use of the words, acting the characters intentions from the movements. From this point of view I started observing people during them everyday life nurturing myself from them gestuality, which can usually shows personal stories.

The interest on the non-verbal comic born after, based in the necessity of feeding my art from people’s everyday life gestuality. The clown’s work had a great influence on my pedagogic path and I’ve transposed to the teaching work this need for valuing the students personal identity, leading them to research and believe in them own truth and them own ability of being prompt.

My goal during the pedagogic activity has always been (and still be) to arouse in the student the need of constructing them own body comic story, finding again the simplicity, the tenderness and the strength to be able to be present in scene together with the public. Inducing the students to find them own Body comic identity means recognize in themselves the stupidity, which is for the clown a high quality in the comicity. We don’t turn into a stupid person, we already are. Be stupid means to marvel, to understand the world in a different way instead of not understand it at all; means to use your own eyes, not for photographing and analyzing the society, but for holding the public and answering them necessities. Therefore, doesn’t means add, but to extract, to strip yourself from the concepts and shapes, making the act of being in scene transparent, and this is a constant condition, very hard to assume because is unconscious.

I believe that the clown’s work is fundamental to put the actor of our days back in contact with it’s own fragility, making him/her to find them own expressive strength in this vulnerable situation. It’s not by chance that the study of the clown art has been applied in the schools and theatrical institutes, generally in the end of the training course, because the clown brings back to the actors them true identify during the theatrical presentations.

The red nose preserve the words.

When I find myself in front of my little students I often tell them that the clown has the red nose because he is ashamed. That nose makes our body speaks, and honestly it’s not a nose, but an eye that allows us to see the reality using the fantasy and the liberty. For that reason the words are not necessary. Caetano Veloso, in one of his songs, says: “I sing only what I cannot hold back anymore”, consequently his words comes only when they have to express a feeling and not just a simple thought. One of this little students, with only 5 years old, told me once: “I’ve understood that the red nose preserve the words” and therefore he hasn’t just understood that his body was funny, his observation made me understand that the words I create actually are really important and because of this it must be preserved.

SCHEDULE 

Monday from 02:00 p.m. till 07:00 p.m.

From Tuesday to friday from 10:00 a.m. till 03:00 p.m.

PARTICIPANTS

Minimum 8, maximum 16 participants

LOCATION

Teatro C’art

ACCOMMODATION

Possibility of accommodation in a farmhouse Casa Rio Petroso located in the countryside 5 minutes by car from the Teatro C’art.