Filtering by: Day 2

Nov
28
2:30 PM14:30

Revaluing Identities - National, Regional and the Global

By Abhilash Pillai (India)

Though working for a national institution and play-directing or theatre-making for different institutions and companies, Abhilash is also seen within a visuality of a regional Kerala locale. As he works to evolve a visual language with actors and designers through exercises and improvisations - trying to define a methodology for visual language - this process has also raised the question: if scenography has a process in place similar to acting ones. Are these processes also institutionalised? How much space do we give to the student’s ideas or historical forces, which shape our own conception of spatiality? Through this presentation session, Abhilash will attempt to re-value his practice-research with a strong critical perspective and examine it as a representative example which captures anomalies and contradictions as well, raises questions of a visual language in a global context.

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Nov
28
11:00 AM11:00

From Form to Formless : Constructing a Conscious Mind 

By Andy Ng (Hong Kong)

What does physical form mean to an actor? It presents as a skill, yet it also imposes a physical limitation on the actor.

What does a theatrical idea mean to an actor? It presents as an aesthetic and skillful demand, yet it also easily demarcates him from experiencing alternative.
Traditional theatrical forms have their own cultural reasons; modern acting training underlines the same meaning, only that it is shaped by the pursuance of a director or directors.

Is it possible for actor training to be done by an actor him/herself? If so, what does the training means to the actor?

Reflecting on his personal training at Theatre Training and Research Practice (ITI's former name), Andy seeks to explain what formal training means to a person and to show the relationship between the conscious mind, the doing, and the multi-self of an actor.

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Nov
28
9:00 AM09:00

Beyond "actoral calligraphy"

By Alberto Ruiz Lopez (Mexico/Singapore) 

In a world that presents an irregular, discontinuous and diverse reality, it becomes necessary for an artist to not only dominate the "acting calligraphy", but to be interested in the content of what "writes on the scene." It means not only conforming to the mastery of technique, but also generating an artistic process that faces reality; an artist who takes the spectator (audience) not only to the enjoyment of the beauty, but also stimulates the freedom of his imagination.

It is an artistic process that is not only focused on the individual skills of the artist but encourages "why not" - a collective process recognising the power of reception of the spectator (audience) in order for the theatrical phenomenon to occur, without trying to impose labels or hegemonic categories.

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