by Christophe Herrada
Actor, singer and teacher at the Conservatory of Brussels (Belgium)
From Sunday 14th to Saturday 20th October 2018
National Theatre Radu Stanca, Sibiu (RO)
Work time: from 10h to 17h (1h break for lunch)
5 days (6h per day) Total: 30h
What is the state of the Clown? Because "Being a clown is a state, it is not a function" (Pierre Etaix). What makes it different from another state? What to do or not to do? Do not make anything especially! It is from the truth of the actor, its characteristics that the clown will arise.
Let to explode fantasy, laugh to tears, from tenderness to ferocity, it requires mastery and rigor.
This workshop aims to explore the possibilities of each in the use of his personality and his "weaknesses" in favor of the "strength" of his clownish character.
Although the Clown "plays" all the time, he asks for a full sincerity of the actor, as if he simply faced his daily life. So it is the state that will interest us during the work. The character will be born gradually being careful not to stop too quickly, too soon, for fear of losing the state. The Clown will find his costume and makeup depending on your research. We will hunt grimaces and vulgarity, to watch the moments of grace and taste the ephemeral. "To be born / to be" simply this, with an availability and a listening of what will come out from us, to surprise us and surprise the partner / public.
The course will be articulated in two phases: the body / voice warm-up / the Clown.
– The body / the voice:
The corporal work is one of the bases of the work of the comedian. Like the dancer, the musician or the singer, the actor must have rigor and assiduity to training / work out. The body is the first concrete point of support for the partners. A "making available", more commonly known as warming-up, is essential in order to better dispose the "actors" to a physical implication on stage. Question the body through gravity / its "levity", its centers of force, its energies, its pattern, its resonators, its referent axes, its anchoring on the ground and in space by exercises like a ritual. But a full and heartfelt ritual.
– We are going to feed the Clown by confronting him with the personality of each one, and this in order to create the necessary distance between the feeling and the expression of the actor. Leave the actor available to everything, but not to anything! "To be" simply in an availability and a listening of what will come out from us. A series of exercises in solo, then with partners, in silence at first, then bringing the music as a partner, and the speech gradually. Three main types of exercises: pure state research, gestural and verbal vocabulary and improvisation. Dressing and makeup planned.
– soft suit
– ballerinas or Chinese shoes (barefoot)
– a small carpet of soil
For the "Clown":
– from 1 to 3 well red nose, well round, and with elastic
– brightly colored T-shirts
– 1 everyday object and / or 1 toy
– 1 musical instrument (guitar, flute, small percussions, etc …)
– 1 hat / beret etc …
– clothes in all styles, women or men, to dress your clown and those of others
– come with a personal artistic proposal lasting from 1 to 3 minutes (dance, song, music, text, movements, acrobatics, juggling, etc …)
Artists of classical performing arts (any other kind of artist can apply)
Good physical condition is recommended.
All applications will be reviewed.
Participants: from 8 to 15