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Course Descriptions

Core Courses

Movement and Body Work

TART i35: 3 credit hours

Movement and Body Work

Instructor: Nhandan Chirco

 

Designed as an introduction to the methods and aims of Physical Theatre, this course provides movement and acting options that reflect the inter-disciplinary thrust of the program. It is divided in Body Work – with focus on physical training – and Creative Work – that aims to provide tools and principles for developing individual and collective performances in the field of physical theatre.

Currently Extended Performance Topics combines: Movement and Creative Work (devising and improvisation); the sessions of Physical Preparation in the early morning three times a week (Yoga, preparation to basic acrobatic, EBAS, running); the course includes the intensive movement workshops by guests teachers: Ginevra Scaglia, EKG dance company, Paola Bianchi, and the Experimental Lab – an intensive with Nhandan Chirco, Tomaz Grom. Sam McGehee, Saso Vollmaier.

 

Movement and Creative work

The Movement course focuses on development of the performer’s movement and body-awareness, preparing students for physically demanding stage performance. The physical training – specifically designed by Jerzy Grotowski and Thomas Richards for movement based theatre practitioners – helps to form both a more spontaneous and a more articulated body and approaches the core of acting technique.

 

In the spirit of forming independent artists, who are at once performers and authors, the Creative Work aims to provide students with methodologies for improvising and structuring performance materials in a personal way. Different processes are proposed as “triggers” for creative impulse and students are accompanied by mentoring in the creation of devised fragments, the working process being oriented toward the discovery of a specific and personal artistic language in the field of performance creation. Textual materials are used as an offspring for devising solo and group performances. Students are invited to experiment with principles of collective improvisation.

 

 

1 Credit

Instructor: Nhandan Chirco and Guest Lecturers

Theoretical Sessions

This short theoretical module aims to introduce artistic currents and relevant artists and companies active in the field of physical theatre, contemporary dance and performance art in the 1900s and to contextualize their work within the broader field of contemporary art. The module wishes

to challenge the idea of what theater and performance might consist in, providing a broader view about work of inspiring artists in the previous century and in recent time and presenting the diversity of approaches and researches that flourished in this art field.

The opening conversation is based on the 20th Century Performance Reader (by Michael Huxley and Noel Witts) and addresses major shifts in conceiving what an art work might be, key passages and phenomena deeply affecting the art field in last century – as the ready made by Duchamp, the contamination among visual art field and live performance practice, the happenings and the performance art created by visual artists, the conceptual art, the questioning of the borders among art and life, improvisation and experimental approach in contemporary dance and in music – and it will bringing into discussion artists and theoreticians that played a major role in this shifts.

This introduction is followed by presentations about single theater artists and authors, developed by students in working teams, utilizing the 20th Century Performance Reader as a main tool.

The students will be introduced to the new library available in the Accademia for further studies and personal researches with which

to integrate their knowledge about contemporary theatre and performance and be further stimulated to think about theater in the prospective of an artists-author. The sessions are completed by four performance screenings to give a direct insight about aesthetics and approaches in contemporary theatre and dance, followed by brief discussion.

Lectures

The module integrates lectures and workshops by guest artists, scholars and ADA faculty addressing contemporary performance trends, relationship between art and society, relation among theory and practice, specific artistic approaches. Lectures are involving students and faculty of all ADA programs becoming an occasion for all ADA community to gather and share an academic experience.

The seminar featured lectures by PhD: Scott McGehee, Leonidas Martin, Branko Popovic, Marco Baravalle, Tomi Janezic, Sabine Fichter, Kevin Crawford, Janez Jansa, Nikolai Jeffs, Fabio Mangolini. The upcoming semester includes lectures by Scott McGeheeJanez Jansa, Tatjana Macic and Domenico Pietropaolo.

The upcoming semester includes the talk by Janez Jansa – MASKA, concert & meeting with Tomaz Grom and conversation with EKG dancers about the performance Dark Union – during the lJubljana study tour.

Commedia dell'Arte: Acting I

TART i15: 3 credit hours

Acting and Dramaturgy

Instructor: Giangiacomo Colli

From the sixteenth to the late eighteenth century the itinerant players of the Commedia dell’Arte developed a style of acting and performance that was to have a tremendous impact on the development of the European theatre. In the twentieth century this style was rediscovered and once again influenced such movements as the expressionist theatre, theatre of the absurd, and the futurists’ experiments, as well as individual artists such as Meyerhold, Gordon Craig, Samuel Beckett, Lecoq, Ariane Mnouchkine and many others.

A study of the techniques rooted in Commedia dell’Arte provides modern actors with a vastly expanded artistic repertoire from which to develop a personal style. Through work on gesture, voice, and movement, this acting class will explore the features of Arlecchino, Brighella, Pantalone, Capitano, Colombina and other masked and unmasked Commedia dell’Arte stock characters, with the intention of developing the student’s own personal version of the character.

The class format will be based on intensive studio work. Students will practice the use of half-face masks, will learn traditional lazzi (stunts, gags and pranks), and will work on improvisational techniques. Scene study in the form of short scenes or more complex canovacci (scenarios) that the students will learn to write, will be a regular component, as well as historical lectures and discussion. The course will culminate in a working demonstration.

As part of the Commedia dell’Arte course, students will participate in a week-long Leather Mask-Making workshop with Andrea Cavarra, as well as Voice in the Mask coachings with Dory Sibley.

Leather Mask-Making

Instructor: Andrea Cavara

In addition to the intensive commedia dell’arte studio component, this course will include a mask-making workshop. Students will sculpt a clay version of one of the stock Commedia masks, making a mould from this that serves as a “negative” for the fabrication of a mask in leather. The student then completes the mask through applying layers of finishing coating and finally paints and highlights its dramatic potential. The students may have the opportunity to use their masks during their commedia acting intensive.

Voice in the Mask

Instructor: Dory Rebekah Sibley

In this workshop students will discover unlikely characters in a surprising way, through the resonance of the mask.  Using vocal resonance within mask work can unlock potential characters and help artists make strong choices. Students will use half and full masks to explore sound and breath. This technique builds unique, informed characters with layered voices supported through a resonant mask and an open body. The creative process works with elements built within the Voice and Ensemble Performance course to align the vocal and physical actor.

Voice and Ensemble Performance

TART i20: 3 credit hours

Instructor: Dory Rebekah Sibley

The Voice and Ensemble Performance course will focus on bridging the voice, movement and masked voice using Fitzmaurice Voicework® as well as techniques from various other fields including Roy Hart Experimental Voice and the Vocal Body. These techniques allow the performer to maintain the integrity of vocal production while speaking and singing in extreme or unconventional situations: as a masked actor or acrobat for example. Weight sharing, kinesthetic response, body mapping and emotional engagement will be utilized in order to free the whole voice. Students will be guided through practical exercises and warm-ups tailored specifically for the physical actor. These exercises are employed to find unlikely characters and unleash a three-dimensional sound to uphold the rigorous demands of masked physicality. Students will develop greater range, flexibility, sustaining power and emotional presence through concentrating on ‘sound for storytelling’ and systematically challenging their boundaries in terms of pitch and quality.

Overall, this course investigates text and song in order to free the imagination and create unique, informed choices in the vocal body. The work centers around ensemble building and performance and will end in a final showing of the creative materials.

Philosophy of Art and Performance

PHIL i20: 3 credit hours

Instructor: Emilija Dimitrijevic

The many paradoxes of the modern world, perhaps first clearly articulated by Rousseau, continue to provide a backdrop to all of our social activity: greater personal freedoms encased in a world of greater social regimentation, increased diversity of choice amidst an inexorable drive toward homogenization, increasing production of wealth along with the dramatic growth of poverty, vastly expanded communications providing the tools to increased isolation and so on.

These paradoxes often go unnoticed as they appear a natural part of life, but these phenomena had an historical development that in turn profoundly affected individual perception. Through an exploration of the development of mass production, the fragmentation and specialization of life and work, the development of the information age, the commodification of culture, the compression of time and space, the disassociation of the body and the aesthetic shifts that have accompanied these developments, this class will philosophically analyze the significance of each. We will think about art—about its nature and its important place in human life.

To facilitate this, the course brings together the writings of philosophers and the work of artists from a variety of domains. The goal is not to intellectualize art but to understand the intelligence that goes into it, to enrich our experiences of art, and to foster our own creative sensibilities. We will consider famous writings on art by thinkers such as Plato, Aristotle, Schiller, Hegel, Marx, Nietzsche, Heidegger, Breton, Artaud, Eisenstein, Debord, Baudrillard, Foucault and others in relation to important works of literature, theatre, painting, music, architecture and film.

A philosophical analysis with help the artist situate both the work of art and the actual work of the artist in a broader framework where the role of social mediation between the artist, the work of art and the reception of the work is revealed. Likewise, the potential role of the artist and work of art as social mediation can emerge as a stimulus to the creative impulse itself.

The class format will be based on lectures and seminar-style discussions where each student will present a critical summary of at least one of the readings. A portion of the class, when possible, will include a critical examination of the student’s own experience in a particular workshop and may include Butoh dance, clown training for actors or other special workshops or master classes in which students participate.

Italian Language: Beginner or Intermediate

ITAL i10, i11: 3 credit hours

Instructor: Accademia Britannica

In the first semester course introduce students to basic grammatical structures of the Italian language. Students acquire a basic vocabulary and speaking practice.

In the second semester course, students begin moving toward fluency in Italian by focusing on communication and the exposure to a not stereotypical, more complex and up-to-date picture of modern Italy and Italians.

The readings in the text will provide a point of departure for conversation, which will be an essential component of both classes. These courses will cover aspects of Italian culture and society, as well.

Contemporary Performance Seminar

1 Credit

Instructor: Nhandan Chirco and Guest Lecturers

Theoretical Sessions

 

This short theoretical module aims to introduce artistic currents and relevant artists and companies active in the field of physical theatre, contemporary dance and performance art in the 1900s and to contextualize their work within the broader field of contemporary art. The module wishes

to challenge the idea of what theater and performance might consist in, providing a broader view about work of inspiring artists in the previous century and in recent time and presenting the diversity of approaches and researches that flourished in this art field.

The opening conversation is based on the 20th Century Performance Reader (by Michael Huxley and Noel Witts) and addresses major shifts in conceiving what an art work might be, key passages and phenomena deeply affecting the art field in last century – as the ready made by Duchamp, the contamination among visual art field and live performance practice, the happenings and the performance art created by visual artists, the conceptual art, the questioning of the borders among art and life, improvisation and experimental approach in contemporary dance and in music – and it will bringing into discussion artists and theoreticians that played a major role in this shifts.

This introduction is followed by presentations about single theater artists and authors, developed by students in working teams, utilizing the 20th Century Performance Reader as a main tool.

The students will be introduced to the new library available in the Accademia for further studies and personal researches with which

to integrate their knowledge about contemporary theatre and performance and be further stimulated to think about theater in the prospective of an artists-author. The sessions are completed by four performance screenings to give a direct insight about aesthetics and approaches in contemporary theatre and dance, followed by brief discussion.

Lectures

The module integrates lectures and workshops by guest artists, scholars and ADA faculty addressing contemporary performance trends, relationship between art and society, relation among theory and practice, specific artistic approaches. Lectures are involving students and faculty of all ADA programs becoming an occasion for all ADA community to gather and share an academic experience.

The seminar featured lectures by PhD: Scott McGehee, Leonidas Martin, Branko Popovic, Marco Baravalle, Tomi Janezic, Sabine Fichter, Kevin Crawford, Janez Jansa, Nikolai Jeffs, Fabio Mangolini. The upcoming semester includes lectures by Scott McGehee, Janez Jansa, Tatjana Macic and Domenico Pietropaolo.

The upcoming semester includes the talk by Janez Jansa – MASKA, concert & meeting with Tomaz Grom and conversation with EKG dancers about the performance Dark Union – during the lJubljana study tour.

Laban Movement Studies/ Improvisation/ Movement Composition

Instructor: Sabine Fichter

In this course students will be introduced to Rudolf Laban’s ideas, particularly his theories of Choreutics (use of space) and Eukinetics (use of dynamics). Within the framework of the Laban principles guided exploration and improvisation will deepen the understanding of movement concepts and will enable students to generate genuine movement material. Compositional exercises will enhance their ability to reflect on choreographic processes and they will investigate the use of compositional strategies. The course provides students with an opportunity to develop more refined insight into the relationship between Laban themes such as Space, Effort, Shape and Body and choreographic content.

Performances

Performances

During the Ljubljana Study Tour ADA students and faculty will attend two selected performances in the field of contemporary theater, dance and experimental music, followed by a meeting with the artists in which students will have the opportunity to pose question and talk about the work they have seen directly with the authors.

In previous semester students attended the following performances: “On the right track” by Via Negativa – Bojan Jablanovac, “Concert” by Tomaz Grom, the contemporary dance & theory performance “Falcon” by Janez Jansa and Iztok Kovac, the performance Something’s in the air by J. Jansa – Maska.

In Fall Semester 2018: The contemporary performance DARK UNION by J. Nadi and EKG and CONCERT by Tomaz Grom.

Guest Workshops and Intensives

Principles in Acting

Spring Semesters

Instructor: Tomi Janezic

This workshop explores basic acting principles in different acting systems which are sometimes understood as oppositions – focusing on examples from Strasberg’s and Chekhov’s acting methods – introducing the application of acting techniques to the creative process: creative use of role theory, active/creative analysis for exploring the life of a character, relationships, situations, events, given circumstances etc.  The work addresses group dynamics and facilitates the process of ensemble-making, proposing tools to overcome personal and relational barriers and resistances when confronted with creative tasks.

Movement Composition

Fall and Spring Semesters

Instructor: Iztok Kovač and EnKnapGroup

The intention of the workshop is to introduce some of En-Knap’s movement specifics and for every participant to establish her/his own relation to it. We will be dealing with terms such as: bubble (attention of the focus), home (safe, peaceful sensation of the gravity center of the body), separation (upper/lower part of the body in tourning/jumping/falling), staccato (sharp reaction on start and stop – suspensions)… We will work individually, with partner and face some group exercises as well. We will also meet some compositional principles and devices based on the use of chance that we developed over 20 years ago. “Since my movement origin lies basically in sports, my work is a lot about the communication: “How do the people interact?” I wish to create an atmosphere where every individual depends on collective, while only her/his technical and creative input results as a group quality. Within the group everyone has enough space and my support to define and develop its own presence and spontaneity/freedom and share it with others after the rules and collective alertness is mastered.”

Poetry of Composition

Fall Semesters

Instructor: Sam McGehee

What does a process of composition look like? How do we assemble fragments to create a poetic whole? What are the questions we should ask ourselves along the path from exploration to presentation?

In this lab we will explore how different processes in theatre interact and come together to create significance. Our time will oscillate between creation and analysis in order to gain a compositional awareness usually reserved for the ‘directors seat’.

The work will encompass elements of ritual and play. A portion of our time will be dedicated to watching each other in order to ask ourselves what is being communicated and where is interpretation taking place? The outcome of our encounter will be a heightened awareness of how space and time are perceived and what it means to ‘let go’ of our ideas, for the sake of uncovering a meaning behind our creations.

Lecoq

Fall and Spring Semesters

Instructor: Ginevra Scaglia

A journey through the basic fundamentals of Jacques Lecoq pedagogy. Classes will be divided in two parts: Movement Analysis and Neutral Mask; Using some of Jacques Lecoq 20 movements ,Neutral Mask and short impro, students will explore how to find an economy of movement, how to move responding to space, how to articulate and structure an action, finding a state of calm, silence and balance, how to be on stage with pleasure and aliveness.

Laban Movement Studies/Improvisation/Movement Composition

Spring Semesters

Instructor: Sabine Fichter

In this course students will be introduced to Rudolf Laban’s ideas, particularly his theories of Choreutics (use of space) and Eukinetics (use of dynamics). Within the framework of the Laban principles guided exploration and improvisation will deepen the understanding of movement concepts and will enable students to generate genuine movement material. Compositional exercises will enhance their ability to reflect on choreographic processes and they will investigate the use of compositional strategies. The course provides students with an opportunity to develop more refined insight into the relationship between Laban themes such as Space, Effort, Shape and Body and choreographic content.

Experimental Lab - voice & movement & space & improvisation

Fall and Spring Semesters

Instructor: Tomaz Grom, Sam McGehee, Saso Vollmaier, Nhandan Chirco

The Experimental Lab is an intensive week dedicated to improvisatory research on the relationship between sound, movement and space.

The usual structure of classes -in which a teacher relates to the group of students – will be modified. During the Lab, the teachers – contemporary musicians and performers – will be present both as teachers and as performing artists, aiming to turn classes into performative sessions.

The lab will focus on a particular condition where the work with sound – rather than soundtrack as the background for movement – is intended as a principle that might be transferred and embedded into movement work, into dynamics in space and as principle for improvisation. During the Lab we will look for detail, an augmented sensitivity towards rhythmic (tempo), dynamic (energy), harmonic (group – space) elements in relationship to silence. The work will address elements that are common to sound and movement, ways in which they can permeate each-other (voice/body work, relationship to objects, materiality of spaces, actions & rhythm and vibrations) and all various possibilities that will allow a particular interdisciplinary communication.The research on language types in both sound and movement wish to implement a perception of sound as movement and movement as sound.

Feldenkrais and Contact Improvisation

Spring Semesters

Instructor: Thomas Kampe

In this workshop we will use The Feldenkrais Method® as a resource for Contact Improvisation and partnering skills. Feldenkrais offers a relational perspective on movement, self-perception and somatic authority. By drawing on organic learning processes it supports a refined self-awareness, an improved skills base, and an ability to relate creatively to our environment. Through ‘Awareness through Movement’® lessons and touch-based ‘Functional Integration’® dialogues we will explore the three-dimensional movement potential of our core, to find freedom and greater possibilities in our shared movement choices as CI dancers.

Voice-Work / Master Class

Fall and Spring Semesters

Instructor: Kevin Crawford 

These classes aim to complement core faculty voice course by offering a mix of strategies for expanding vocal range, quality and elasticity. Inspired by Roy Hart Voicework, they introduce students to an extended vocal technique that is rooted both in the body and the imagination. Guided improvisation that is playful and precise opens perspectives for ensemble and individual creativity through the voice. Very short textual extracts and a capella melodies may be introduced.

Movement and Word

Fall and Spring Semesters

Instructor: Paola Bianchi 

During the workshop we will investigate the possibilities of transmission of movement through the word, keeping out the “master’s body” as example to follow and imitate. The aseptic description of movements will be the guide and it will become the motor of inner research. Through the interpretation of the description of movements everybody will find his/her own personal way to incorporate the movement without copying it but living it.

This method activates the imaginative faculty of each one and the awareness of one’s own movement and body in motion.

Butoh

Spring Semester

Instructor: Mitsuru Sasaki

Butoh was born in Japan in the sixties and derived from traditional Japanese dance and performance forms. Butoh encourages the occidental dancer to look beyond traditional assumptions about time and space in order to reach out to new ground in terms of performance.

Tarantella

Fall and Spring Semesters

Instructor: Gianni Bruschi

The Tarantella, in the south Italian tradition, can be subdivided into several dancing-musical forms: love dances, war dances, honour and expiation dances, and ritual dances. The very ancient origins of these dances date back to Dioniso’s cult, and the traditions of these dances reflect a cultural heritage of great human and artistic value.

QUICK DETAILS

 

Fall 2018: August 31 – 5 Dicembre

Fall Break: October 13 – 21

Application Deadline: April 1, 2018

 

Spring 2019: January 21 – April 26

Spring Break: March 2 – 10

16 total credit hours

Early Bird Discount: Enroll by July 1 to save 5% off total tuition on our Spring semesters! (See Program Fees and Billing for more information)

APPLY NOW for this program.

Application Deadline: October 1

 

Fall 2019: August 30 – December 4

Fall Break: October 12 – 20

16 total credit hours

Early Bird Discount: Enroll by February 1 to save 5% off total tuition on our Spring semesters! (See Program Fees and Billing for more information)

APPLY NOW for this program.

Application Deadline: April 1

 

PLEASE NOTE: The dates above include arrival and departure. The Accademia dell’Arte does not accommodate students before or after these dates.

The Accademia dell’Arte undergraduate program is fully accredited by Hendrix College.

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