Acting training and theatrical production

The training will focus on the personal development of each student, respecting their individual process. 

We seek to place ourselves in a position of constant play, halfway between desire and the fear

  • STAGE PRESENCE. What draws the public's gaze?

  • BODY, MIND AND VOICE. How to reinforce the constant relationship between body, mind and voice so that the emotional journey is richer and more direct to the viewer's heart?

  • HONEST LIE What level of commitment do I need on stage to generate a new reality?

Practical information

FROM OCTOBER TO JUNE

Tuesdays from 7:00 PM to 10:00 PM
Final Showcase of Contemporary Dramaturgy

Wednesday from 7:00 p.m. to 10:00 p.m.
Final Collective Creation Exhibition 

PLACE: Siconi Room
PRICE: €85/month

MORE INFO
candida.anonima@gmail.com/ 658 911 618

“We do not hear words as such but what is inherent in them.” Uta Hagen.

 

  • First quarter INTUITION
  • Connection with the desire for play, intuition and creativity. 
  • Relaxed, free and present body.
  • Active listening, we listen with our whole body. 
  • Improvisation work: What conditions does a scene need to attract the attention of an audience? 
  • Textual and creative work: original monologues and/or scenes.
  • Open class at the end of the quarter: How does all that work translate to the body when there's an audience in front of you?

    Second quarter DECISION

  • Choosing the play we want to work on. 
  • Table work and intellectual analysis necessary before entering rehearsals.
  • Character work at all levels: physical, mental, instinctive and spiritual. 
  • Acting training (self-awareness, listening, voice, direction, intention, presence).
  • Creative laboratory to discover the relationships and emotional journey of each character: beyond what the text says, the intuition of the interpreters comes into play.

    Third Quarter Presentation

  • Acting training (self-awareness, listening, voice, direction, intention, presence).
  • Professional rehearsals for the final production: grounding the character's instincts, goals, and needs in the body and intertwining them with the performer's desire for play, intuition, and creativity. Putting passion at the service of the story.
  • Costume, props and set design decisions.
  • Presentation in June at the Phoenix Room from Barcelona.

    All sessions will consist of…

MEDITATION AND SELF-AWARENESS
PHYSICAL WARMING
ACTIVE LISTENING
IMPROVISATIONS AND SCENES

Basic bibliography: “The Actor and the Target”, Declan Donellan; “A Challenge for the Actor”, Uta Hagen; “Zen in the Art of Archery”, Eugen Herrigel. 

 

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Because?

After several years creating with the company and teaching acting at various schools, I've discovered that the energetic exchange between creative bodies fascinates me. I firmly believe that art, the expansion of the inner artist, connects us to the world in a way that multiplies empathy and gives birth to love. And from there, it's easier for the imagination to expand.

Training in the game, leaving judgment aside so that the relationship with the other and with the space becomes a scenic device.

 

The craftsmanship

I dedicate a short paragraph to craftsmanship because I believe it perfectly defines the performer's craft, working meticulously on the scene, the character, the breathing, the body, the intention. Once intuition paves the way, creating a working mechanism, I dedicate myself wholeheartedly to translating what the character experiences into my own body, thus arriving at what I like to call "stage truth" or "honest lie."

English