{"id":51,"date":"2014-09-16T07:59:13","date_gmt":"2014-09-16T07:59:13","guid":{"rendered":"http:\/\/thaliastjenere.dk\/?page_id=51"},"modified":"2019-03-16T08:29:57","modified_gmt":"2019-03-16T08:29:57","slug":"workshops","status":"publish","type":"page","link":"https:\/\/thaliastjenere.dk\/en\/workshops\/","title":{"rendered":"Workshops"},"content":{"rendered":"

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Each course is tailored to suit your needs. If you have special wishes or ideas, you are more than welcome to contact us.<\/p>\n

Basic training and Acting techniques<\/h3>\n

The play’s the thing\u00a0–\u00a0\u00a0a basic course in physical acting<\/h4>\n

The actor is always in communication – not only with the voice and face. The language of the body must also be mastered. Physical habits and inhibitions\u00a0find their way\u00a0to unconscious expression,\u00a0and thus stand in the way of\u00a0spontaneity, creativity, and truth.\u00a0\u00a0Via physical play, we can work to\u00a0put\u00a0our heads “on the shelf” and find a path to a true\u00a0release which will\u00a0open the door to authentic character choices.<\/p>\n

In english, the word for the stage performer’s\u00a0art is\u00a0to ACT, the word meaning “to\u00a0do\u00a0something.” This is not a coincidence. And\u00a0believable acting consists of physical actions and choices. The actor must learn to ask herself: “what do I\u00a0do” rather than the less reliable “what do I\u00a0feel” or even less performable “who\u00a0am\u00a0I.”\u00a0In this way, the actor’s work becomes both concrete, accessible, and fun! One discovers then quite quickly that\u00a0gesture and movement\u00a0inevitably will affect our inner life.<\/p>\n

In this course, we will explore physical tools which can be used to create a strong communication between performer and audience. Theough use of techniques from the melodrama and mask play, we will allow the actor’s impulses to take shape and become living.<\/p>\n

Security + release = creativity. Creativity + form = art!<\/p>\n

Masker – Spilleteknik<\/h4>\n

We all know the mask from Halloween or Carnival, and the feeling of freedom when we – for a moment – can step into a new identity. With the mask, life is experienced through another’s eyes, and we are able to discover sides of ourselves, we perhaps were unaware of.<\/p>\n

The mask is generous, but also uncompromising. It removes the forms of communication with which we are most familiar – what is left is that which always speaks the truth: the language of the body.<\/p>\n

We will use the mask as a device to release and refine the abilities of the actor. Through exploration and play, we will search for truth in our physical expression. The mask will teach us to listen, not only to each other, but also to the character who lies hidden in the mask – and to ourselves.<\/p>\n

We will learn some essential technical principles, which help us to bring the mask to life, and which can sharpen our stage presence. All of these techniques can be used to great effect in other theatrical styles. The only prerequisites for this course are openness and willingness.<\/p>\n

Mask making<\/h4>\n

Maskmaking\u00a0in papier-mach\u00e9<\/p>\n

Create an expressive mask that is super-cheap, flexible, durable, and a delight for the viewer as well as the wearer.
The art lies not only in the technique, but also in the understanding of how to create a “new face” with strong characteristics, many expressive possibilities, and that elusive spark one could call a “soul.”<\/p>\n

Ideally, this course requires approx. 28 hours total.\u00a0\u00a0(A shorter version can be achieved by skipping steps 1 and 2.)
Working hours can be distributed over\u00a0three weekends for example, or a long week including one weekend.<\/p>\n

Plaster casting of actor’s face –\u00a0applying plaster gauze: 2-3\u00a0hours (depending on number of students)
Mixing \/ pouring of plaster: 1 hour (Drying time:\u00a024 hours or more)
Forming the clay positive: 5 hours.
Applying papier mach\u00e9: (5 layers) approx. 7.5 hours (Drying time – several days.\u00a0)
Cleaning the mask \u0096 clay and release agent removal. Mask is edged and elastic is applied. 2 hours.
Spackel\u00a0and sanding: 4 hours.
Painting: 4 hours.
Trying the masks out: 3 hours +\u2026<\/p>\n

Melodrama \/ Grand Guignol\u00a0(Theatre of Horror)<\/h4>\n

Melodrama is dramatic, theatrical, broad gesture and true emotion. The story is simple: good vs. evil. Hero, villain, and victim. What is at stake is most often life and death. Anything can happen! The style is physical and expanded – the challenge lies in performing it with believability.<\/p>\n

Even though we will laugh a lot, melodrama must not become parody. We will gain a basic knowledge of the style and its characteristic elements such as\u00a0tableau\u00a0and\u00a0asides, as well as working\u00a0to\u00a0make our\u00a0physical language, our gesture and our emotional life extroverted and enlarged, without exaggeration and without losing truthfulness.<\/p>\n

Grand Guignol \/\u00a0Theatre of Blood and Gore<\/p>\n

In the style of\u00a0Grand Guignol\u00a0the emphasis is on shock.\u00a0\u00a0Th\u00e9\u00e2tre du Grand Guignol\u00a0was established in\u00a0Paris in 1897. For 60 years, this theatre housed an effect-theatre with such power, that it is said that audience members were known to faint. Eyes were gouged out, hands cut off, toungues removed, brains thrown in the garbage – all live on stage. Melodrama with additional theatre blood is always a great hit – but it’s a messy business, so don’t forget a change of clothes!<\/p>\n

Commedia dell’arte<\/h4>\n

Commedia dell\u2019arte is one of the most encyclopaedic of the traditional theatre forms. It is a rich tool for developing our general understanding of the theatre. Acting in Commedia dell\u2019arte\u00a0has been\u00a0likened to\u00a0performing stand-up while dancing ballet. The movements are stylized, the mask work technical and the characters and their physical choices are extreme.<\/p>\n

The style is used to train all aspects of the actors’ art: from expanded physical characterization to psychological identification to partner play, rhythm, timing and improvisation.<\/p>\n

We are most often asked to teach Commedia dell’arte\u00a0for\u00a0Gymnasie\u00a0Drama classes. Here, the students are introduced to the\u00a0basic gallery\u00a0of Commedia\u00a0characters, their\u00a0appetites, attributes, and movements. They\u00a0are also\u00a0given a brief historical overview, after which\u00a0they\u00a0explore the masks in small\u00a0lazzi\u00a0(comic routines), and,\u00a0if there is sufficient time, scenarios.<\/p>\n

Mime<\/h4>\n

Mime is the art of illusion. It is physical control, and sense of detail.
To be able to tell a story with only the body.<\/p>\n

Students will learn a set of basic principles which will allow exploration of illustrations such as:
walks
opening doors
opening windows and climbing through them
lifting objects
rowing a boat
following a string
walking a dog
Walls, ladders, and much more.<\/p>\n

The course will lternate between games and exercises which heighten our physical awareness, and study of mimic techniques.<\/p>\n

From idea to performance \/ Direction<\/h4>\n

Theatret Thalias Tjeneres ensemble\u00a0has also much experience in creating \/ devising performances from scratch, and in directing amateur performers, be it school comedy, revue, or local theatre group.<\/p>\n

We can\u00a0assist\u00a0your process at any given point, whether we are dealing with a completed script, unfinished ideas which\u00a0are waiting to\u00a0be\u00a0dramatized, or something in between.<\/p>\n

We can take charge of your project from beginning to end, or just come for a short time to advise on a performance in process.<\/p>\n

Do you have a project you’d like some assistance with? Feel free to contact us to find the right model for you and your group.
Prices:<\/strong> Workshop price is based on an hourly rate of 500,- DKK per teacher per hour.
Transportation outside of \u00c5rhus Kommune at extra charge.
For workshops with over 15 students we recommend two teachers.<\/p>\n

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         Each course is tailored to suit your needs. If you have special wishes or ideas, you are more than welcome to contact us. Basic training and Acting techniques The play’s the thing\u00a0–\u00a0\u00a0a basic course in physical acting The actor is always in communication – not only with the voice and face. […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"\"undpr1\"\"japanworkshop\"\r\n\r\nDet er noget ganske s\u00e6rligt at modtage undervisning fra en, der er professionelt aktiv i sit fag. Theatret Thalias Tjeneres skuespillere kommer ogs\u00e5 gerne ud til jer. Ved hj\u00e6lp af forl\u00f8sende lege\u00a0skabes en afslappet atmosf\u00e6re, et rum hvor det er\u00a0OK at pr\u00f8ve, og fejle. Gennembruddet kommer n\u00e5r vi f\u00e5r sendt hovedet p\u00e5 en tiltr\u00e6ngt pause, s\u00e5 kroppen kan komme til. Dette er en af n\u00f8glerne til kreativitet.\r\n\r\nTraditioner er basen, hvorfra vi kan begynde en ny udvikling. Hver stilart tilbyder noget karakteristisk som eleven umiddelbart kan tage med sig og bruge i alt andet teater arbejde: Masken befrier, men kr\u00e6ver ogs\u00e5 pr\u00e6cision. I Melodrama arbejdes med \u00e6gthed i store f\u00f8lelser og gestus; Commedia dell\u2019arte rummer det hele - plus vanvittig energi og ekstreme karaktertegninger...alle udfordrer de eleven b\u00e5de som skuespiller og som menneske.\r\n\r\nUnderviserne Linda Fallentin og Stephan Vernier er begge godkendt til Statens Kunstfonds Huskunstnerordning.\r\n\r\nKontakt os gerne for mere info.\r\n

Kursusemner<\/h3>\r\nHvert forl\u00f8b skr\u00e6ddersys i samarbejde med jer. Her er et udpluk af vores mest efterspurgte emner:\r\n

Grundtr\u00e6ning og Skuespilteknik:<\/h4>\r\nSpil til skue -\u00a0Et grundkursus i kropslig skuespilteknik\r\n\r\nEn skuespiller kommunikerer hele tiden - ikke kun med stemmen og ansigtet, men ogs\u00e5 kroppens sprog skal mestres. Fysiske vaner og h\u00e6mninger kommer ubevidst til udtryk og st\u00e5r derfor ofte i vejen for, at vi p\u00e5 scenen kan udtrykke os \u00e6gte, spontant og kreativt.Gennem fysiske lege kan vi fors\u00f8ge at l\u00e6gge hovedet p\u00e5 hylden og finde frem til en \u00e6gte frig\u00f8relse, som muligg\u00f8r autentiske karaktervalg.\r\n\r\nP\u00e5 engelsk siger man: \"TO ACT\", som betyder\u00a0at handle. P\u00e5 dansk siger vi\u00a0skuespil, alts\u00e5 noget, der\u00a0ses.Godt skuespil best\u00e5r netop af fysiske handlinger og valg. Skuespilleren m\u00e5 l\u00e6re at sp\u00f8rge sig selv: \"hvad\u00a0g\u00f8r\u00a0jeg\" - fremfor \"hvad f\u00f8ler jeg\" eller \"hvem er jeg\".\u00a0S\u00e5 bliver skuespillerens arbejde b\u00e5de konkret, tilg\u00e6ngelig - og sjovt! Man vil ogs\u00e5 opdage, at gestikken uomtvisteligt p\u00e5virker vores indre liv.\r\n\r\nI dette forl\u00f8b vil vi udforske fysiske redskaber, der kan bruges til at skabe en st\u00e6rk kommunikation med publikum og medspillere. Gennem arbejde med teknikker fra melodramaet og maskespillet vil vi lade skuespillerens impulser f\u00e5 form og liv.\r\n\r\nTryghed + frig\u00f8relse = kreativitet.\u00a0Kreativitet + form = kunst!\r\n

Masker - Spilleteknik<\/h3>\r\nVi kender alle masken fra fastelavn og den befriende fornemmelse af \u2013 et lille \u00f8jeblik \u2013 at kunne tr\u00e6de ind i en ny identitet. Med masken opleves livet gennem en andens \u00f8jne og dermed \u00e5bnes der op for sider af os selv, som vi ikke kender.\r\n\r\nMasken er gener\u00f8s, men den er ogs\u00e5 kompromisl\u00f8s. Den udelukker de former for kommunikation, vi bruger til daglig - tilbage er kun det, som altid taler sandt: kropssproget.\r\n\r\nVi vil bruge masken som et redskab til at frig\u00f8re og raffinere skuespillerens evner. Gennem udforskning og leg vil vi g\u00e5 p\u00e5 jagt efter det sande fysiske udtryk. Masken vil l\u00e6re os at lytte, ikke kun til hinanden, men ogs\u00e5 til karakteren som er begravet i masken - og til os selv.\r\n\r\nVi vil l\u00e6re nogle grundl\u00e6ggende tekniske principper, som hj\u00e6lper os til at give masken liv og sk\u00e6rper vores sceniske n\u00e6rv\u00e6r. Alle disse teknikker kan med stor succes bruges i andre teatralske sammenh\u00e6nge. Der kr\u00e6ves ikke andre f\u00e6rdigheder end \u00e5benhed og parathed.\r\n

Maskefremstilling<\/h3>\r\nMaskefremstilling i papier-mach\u00e9\r\n\r\nSkab en udtryksfuld maske som er superbillig, smidig, holdbar, l\u00e6kker at se p\u00e5 og\u00a0r\u00f8re ved.\r\nKunsten\u00a0ligger ikke kun i teknikken, men ogs\u00e5 i forst\u00e5elsen af, hvordan man skaber \"et nyt ansigt,\" som har st\u00e6rke karaktertr\u00e6k, mange udtryksmuligheder og den flygtige gnist, man kan kalde en \"sj\u00e6l\".\r\n\r\nIdeelt set skal der i alt bruges ca. 28 timer.\r\nTimerne kan fordeles over f. eks. tre weekender eller en lang uge inkl. weekend.\r\n\r\nGips-afst\u00f8bning: l\u00e6gning af gipsbandage: 2-3 timer (alt efter antal elever)\r\nBlanding \/ h\u00e6ldning af gips: 1 time. (H\u00e6rdes 24 timer, gerne mere.)\r\nFormning af ler: 5 timer.\r\nL\u00e6gning af papier-mach\u00e9: (5 lag) ca. 7,5 timer. (T\u00f8rretid: helst flere d\u00f8gn.)\r\nReng\u00f8ring af masken \u2013 ler og vaselinerester fjernes. Masken kantes\u00a0og f\u00e5r elastik: 2 timer.\r\nSpartelmasse\u00a0og slibning: 4 timer.\r\nMaling: 4 timer.\r\nAfpr\u00f8vning af maskerne: 3 timer +\u2026\r\n

Melodrama \/ Grand Guignol\u00a0(Gys og Gru)<\/h3>\r\nMelodrama er dramatisk, teatralsk, store armbev\u00e6gelser og \u00e6gte f\u00f8lelser. Historien er enkel: Det godes kamp mod det onde. Helt, skurk og offer. Det der er p\u00e5 spil, er et sp\u00f8rgsm\u00e5l om liv og d\u00f8d. Alt kan ske! Stilen er fysisk og k\u00e6mpe stor - udfordringen ligger i, at det skal spilles med trov\u00e6rdighed.\r\n\r\nSelv om vi vil grine en masse, er melodrama ikke en parodi. Vi vil stifte bekendtskab med stilen og dens virkemidler som\u00a0tableau\u00a0og\u00a0aside, samt arbejde med at g\u00f8re vores kropssprog, gestus og f\u00f8lelser udadvendte og store, uden at overdrive og uden at miste \u00e6gtheden.\r\n\r\nGrand Guignol \/ Gys og Gru\r\n\r\nI Grand Guignol l\u00e6gges s\u00e6rlig v\u00e6gt p\u00e5 gyset.\u00a0Th\u00e9\u00e2tre du Grand Guignol\u00a0blev etableret i Paris i 1897. I 60 \u00e5r\u00a0iscenesatte man her effekt teater s\u00e5 grufuldt, at folk besvimede. \u00d8jne blev stukket ud, h\u00e6nder hugget af, tunger sk\u00e5ret ud, hjerner smidt v\u00e6k \u2013 alt sammen live. Melodrama tilsat teaterblod\u00a0er altid\u00a0et stort hit - men det sviner, s\u00e5 husk skiftet\u00f8j!\r\n

Commedia dell'arte<\/h3>\r\nCommedia dell\u2019arte er den af de traditionelle teaterformer, der er mest alsidig. Den er et rigt v\u00e6rkt\u00f8j for vores generelle teaterforst\u00e5else. Commedia dell\u2019arte er som at skulle improvisere stand-up samtidig med, du danser ballet. Bev\u00e6gelserne er stiliserede, maskearbejdet teknisk og karaktererne og deres fysisk valg ekstreme.\r\n\r\nStilen bruges til at tr\u00e6ne alle aspekter af skuespillets kunst: fra ekstrem fysisk karakteropbygning til psykologisk indlevelsesevne til partnerspil, rytme, timing og improvisation.\r\n\r\nVi underviser oftest i Commedia dell\u2019arte p\u00e5 Gymnasiers Dramahold. Her introduceres eleverne kort for Commedia dell\u2019artes persongalleri, deres appetiter, atributer og bev\u00e6gelsesm\u00f8nstre. De f\u00e5r en kort introduktion til det historiske og f\u00e5r s\u00e5 lov at udforske maskerne i sm\u00e5 lazzi og, hvis tiden tillader det, scenarier.\r\n

Mime<\/h3>\r\nMime er illusionens kunst. Det er kropsbeherskelse og sans for detaljer.\r\nAt kunne fort\u00e6lle en historien uden brug af andet end sin krop.\r\n\r\nEleverne l\u00e6rer illustrationer som:\r\ngangarter\r\ng\u00e5 gennem en d\u00f8r\r\ng\u00e5 gennem et vindue\r\nl\u00f8fte en kuffert\r\nsejle en b\u00e5d\r\nf\u00f8lge en snor\r\nlufte en hund\r\ng\u00e5 ind i en mur, kravle op ad en stige og mange flere\r\n\r\nUndervisningen veksler mellem lege, der \u00f8ger kropsbevidstheden og indstudering af tekniske mimef\u00e6rdigheder.\r\n

Fra id\u00e9 til forestilling \/ Instruktion<\/h3>\r\nTheatret Thalias Tjeneres ensemble\u00a0har ogs\u00e5 stor erfaring med at lave forestillinger fra bunden og instruere amat\u00f8rer. Det v\u00e6re sig skolekomedie, revyer eller lokale teatergrupper.\r\n\r\nVi kan indg\u00e5 i processen n\u00e5r som helst, hvad enten det drejer sig om et f\u00e6rdigt manuskript eller om at f\u00e5 id\u00e9erne skrevet ned p\u00e5 papir og senere realisere dem p\u00e5 scenen.\r\n\r\nVi kan styre produktionen fra start til slut \u2013 eller vi kan n\u00f8jes med at komme en enkelt time for derefter at give noter og gode r\u00e5d.\r\n\r\nHar du et projekt, du kunne t\u00e6nke dig hj\u00e6lp til, er du meget velkommen til at kontakte os.\r\nRing 86 13 78 99 og f\u00e5 en uforpligtende snak!","_et_gb_content_width":"","footnotes":""},"class_list":["post-51","page","type-page","status-publish","hentry"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/thaliastjenere.dk\/en\/wp-json\/wp\/v2\/pages\/51","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/thaliastjenere.dk\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/thaliastjenere.dk\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/thaliastjenere.dk\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/thaliastjenere.dk\/en\/wp-json\/wp\/v2\/comments?post=51"}],"version-history":[{"count":0,"href":"https:\/\/thaliastjenere.dk\/en\/wp-json\/wp\/v2\/pages\/51\/revisions"}],"wp:attachment":[{"href":"https:\/\/thaliastjenere.dk\/en\/wp-json\/wp\/v2\/media?parent=51"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}