A workshop led by Yinon Tzafrir, together with OrTo-Da artists.
I. Street theater as a tool for developing performer’s awareness
Street theater is based on four basic principles:
- The Player’s status in relation to the audience.
- Highlighting the “GAME” between the stage elements.
- Finding a connection between the physical place of the performance and the place defined in the play.
- Defining the role of the audience.
Street theater breathes new life into William Shakespeare’s famous line “All the world’s a stage, and all the men and women merely players”.
A workshop for “street theater” focuses on the work of the ensemble of actors in the public space as a tool for changing the state of consciousness.
We will work on the development of listening in the public space.
We will work on the “secret” – in every ensemble work there is a “secret”. How do you find out the secret?
How does a group of actors create a unique space for themselves within the public space?
How does the artist create within the ensemble, on stage together, as one body?
How does the artist and the ensemble manage to touch the depths and peaks of human existence?
II. The existential state of the creative artist, the red nose and stage expression
In the workshop we will learn to find each and every player’s personal stage mechanism and we will “give birth” to an authentic personal stage character.
We will deepen and explore the power of “exaggeration” as a tool for enhancing the actor’s charisma and personal emotion, the volume of stage expression and especially the “projection” and power of the creative actor, with the actor’s infinite freedom to be something else, grotesque and free of self-criticism.
Each of us has a hidden aspiration for glory, but the way to realize this is through accepting our weaknesses and creating human empathy.
Therefore, in order to enhance the variety of abilities, the imagination and stage reactions of the actor, we allow the “mistake” and the “failure” to lead us to new fields of action.
III. Extracting the authenticity, emotion and power of the performer – the open circle method
We will experience and learn the style of psychological realism and open an awareness of our personal experience, which consists of images, thoughts, sensations, emotions and phantasy.
We will learn to move between the familiar and defined stage act (“history”) and the real-time stage experience.
We will recognize our resistance to expression and learn ways to deal with it.
We will learn to channel what happens to the actor to enhance the stage moment.
We will develop flexibility in the presentation of the text and authentic forms of expression.
We will learn to enter the stage in open mode.
The workshop consists of a series of exercises using the open circle method (Orian Method)
The postmodern game-to be intresting or to be natural ? the open circule method - a personal experience on stage as a tool to expand the performer range in the realism style.
Stylized big expression - The red nose & half face masks and the relatuons beetwin actor to a clasic clown
Street theater and group work in a public space.