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

GROUP A
Wednesday from 7:00 p.m. to 10:00 p.m.
(complete)

B GROUP
Monday or Friday from 10 a.m. to 1 p.m.

PLACE: Siconi Room
PRICE: €100/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 trimester
  • Connection with the desire for play, intuition and creativity.
  • Physical and vocal technique necessary to inhabit the stage. 
  • Relaxed body and stage presence: continually in contact with the present. 
  • Active listening training, we listen with the whole body. 
  • Improvisation work: What conditions does a scene need to attract the attention of an audience? 
  • Textual work: monologues and/or scenes.
  • Open class at the end of the quarter: How is everything worked on placed in the body and being with an audience in front of it? 

  • Second quarter
  • 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. 
  • Theory of character work according to the technique of Uta Hagen.
  • 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 trimester
  • Acting training (self-awareness, listening, voice, direction, intention, presence).
  • Professional rehearsals for the assembly of the final piece: landing in the body the instincts, objectives and needs of the character and intertwining them with the desire for play, intuition and creativity of the performer. Putting passion at the service of history, honoring the emotions of the people I embody.
  • Costume, props and set design decisions.
  • Presentation in June at the Phoenix Room from Barcelona.

All sessions will consist of the following parts:
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. Many of the acting techniques proposed come from the Marcet Voice Studio.

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Because?

After a few years creating with the company and teaching acting classes at different schools, I have discovered that the energy exchange between creative bodies fascinates me. Not only that, but I have the firm conviction that art, the expansion of the inner artist, connects us with the world in a way in which empathy multiplies and love is born.

Everything that happens is part of the creative act, judgment remains in the background and the relationship with the other and with the space becomes a possible scenic device.

 

The craftsmanship

As an actress, I have been storing up different techniques and “tricks” that have allowed me to sustain and amplify the energy on stage. I call it craftsmanship because I believe it defines very well the job of the performer, working on the scene, the character, the breathing, the body, the intention in detail. Once intuition opens the way, generating a device that works, I dedicate myself body and soul to landing what happens to the character in my body, to thus arrive at what we call “scenic truth” or “honest lie.”

English