Filtering by: Work Demonstration

Nov
30
11:00 AM11:00

To Gather. Together.

By Li Xie (Singapore)

In the face of rapid changes, individualism and uncertainties, how do we gather as a community? How do we create collectively and disagree respectfully?

How do we as artists, relinquish control and let the audience decide THEIR theatre, as we stand with them?

This interactive work demo will illustrate the process and flexible adaptation of The Lesson - an immersive and participatory social performance (first presented by Drama Box at Singapore International Festival of the Arts 2016). Created by Li Xie and team, The Lesson has since toured Taiwan and Rotterdam.

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Nov
30
9:00 AM09:00

The Difference Butoh Makes: Skills and Creativity Training for the Contemporary Actor-Creator

By Frances Barbe (Australia)

This work-demonstration explores butoh-inspired structures for improvisation intended to assist performers in skills training and creative processes. It presents exercises as opportunities for self-observation and the chance to expand range. It also considers butoh’s potential for uncovering the complexity of the interaction at the heart of theatre and performance between a performer’s inner-world, their chosen outer-form and their spectator’s meaning-making mechanism

  • What does it mean to be “convincing” or “authentic” in performance, particularly in heightened and non-naturalistic work? 

  • What does butoh, which arose from dance-trained pioneers, have to offer the contemporary theatre actor in terms of psycho-physical skills and creativity?
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Nov
29
11:00 AM11:00

What Are You Working On? : The NYT Actors' Work

By Nelson Chia (Singapore)

"What are you working on?" This is a question that surfaces most frequently in Nine Years Theatre's long-term practice and research on actor training. It suggests the need to articulate precisely the work that is being done by the actor at a given moment. Through the years, this research has revealed to us various ideas and aspects of performance that an actor can practise in order to achieve clarity on stage. Since 2016, we have begun to consolidate and develop these findings into what we call the NYT Actors’ Work. This session will be a brief introduction to some of these works, including a focus on the work on Fiction.

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Nov
29
9:00 AM09:00

Theatre of Essence

By Themis Lin Pei-Ann and Chongtham Jayanta Meetei (Taiwan/India)

The nature of this work is to share the process in the making of a performer - in relation to his/her emotions and muscles within the human body. The methodology for this demonstration will be deeply inspired by Bharata's Natya Shastra and some common performance techniques of Asian traditions. Almost all the Asian performance traditions use repetition of movement of muscles as training to achieve a sense of belief, which essentially leads to a level of deep reflective thought as a kind of contemplation. This cogitation frees a performer to explore, improvise, and develop the form/style of performance.

In this session, a brief demo on how to control muscles and emotions in relation to breathing will be shared. We will be indicating a breathing technique inspired from yoga and emotions explored through the Rasa theory in Natya Shastra. Only when a performer realises and understands their breathing that s/he starts sensing her/his presence. The realisation of breathing makes the body muscles gain a deeper link of emotions. Through the repetition of breathing, we generate different emotions with the same intensities; we will show how to achieve control of mind, soul, and body on stage.

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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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