Description

But what to do when we are in the action, deprived of withdrawal, involved in a strong moment that we identify with, and immersed in a mental blah that seems to overwhelm us?

What if we became fully involved in the theater of our life?

Being on stage active within each artist, and around him, a particular energetic circulation. It can be seen. We also say of the actor that he "has" presence.

This is combined with the work of his art, and nourishes an elusive magical part, that which makes each performer a conveyor of moments.

This practice that he nurtures frees him from his old responses from the past, helps him to remain present in action, to evade incessant judgments and comments, and this, even when he is involved in complex relationships. .

This practice is to let him pass for his freedom to be.

What if we tried the experiment?

What if we invited ourselves to experience the delights of the game of presence?

Suggested route:

The Game and the I

The performers all begin their artistic journey driven by the desire to learn to play.

But, by the way, is it possible not to play? Is there a place within ourselves that is not play?

And besides, who is this "I" who is playing, and what is he playing?

The inner movement that this question induces constitutes the very basis of the work that I propose to you.

In our contemporary and productive world, the Performing Arts are among the rare spaces of freedom where the vertigo of this question can still be experienced fully, and concretely.

To be able to meet and cultivate this vertigo with the help of a series of practical exercises, in an agreed space, with a group of demanding and generous participants ...

In order to awaken and anchor this ability to capture life as deeply as possible; capacity that makes us present to ourselves and to others, and available to the forces that flow through us.

Tools

It is not about learning new skills, but about having experiences that remind us of those gifts that are already within us.

Here are some requests that will be offered to you:

* Sensitive physical preparation consisting of an articulated warm-up in three phases, the result of the training I have followed and my own experience as an artist and teacher.

* The practice of scenic movement developed by Eugenio Barba, Rudolf Von Laban… that I have been practicing, teaching and questioning for almost 30 years.

* Voluntary spatial disorientation exercises creating the ideal circumstances to develop confidence in our natural capacities, to let go, and to the emergence of a sensitivity and a newfound consciousness.

* The practice of the circle of presence.

Tool inherited from ancient shamanism, adopted by the first circus craftsmen, then those of the commedia dell'arte under the name of neutral circle, developed in particular by Thierry Salmon, whom I have been practicing, teaching and adapting, also for almost 30 years.

The whole, freely inspired by the writings of Eckhart Tolle, by the spirit of "The Way of the Feeling" initiated by Luis Ansa, whose practice does not cease to nourish my work, and which I find to be so nicely enlightened by the " dazzling words "by Armelle Six. (For these last two references: see the wonderful writings of Robert Eymeri). But also, carried away by the world of Christian Bobin and many other poets

In order to :

Rediscover your inner listening, inhabit your bodies, invite and welcome the sensation, live and let live the emotion of the moment, capture the space and its flows, release expressive resistances, welcome the gaze of the other, and therefore , self...

Develop the best quality of being possible, here and now.

A form of "service" for each participant, at the very beginning of the course, will allow us to meet better, and to identify for each a theme that will guide our respective research during the work.

Level

Prerequisites

The minimum age required would be that of majority (16 years old tolerated). No maximum age limit in this matter.

Good physical condition is not at all essential, but the ability to observe and listen in kindness are decisive.

Arrive at the course with a "performance" of at least one minute, the content of which is particularly important to you, and which appears difficult to you to fully experience: a poem, a song, a dance, a line, a story, a tale ... Just a real artistic and personal moment to share in front of a benevolent audience. (If necessary, bring the essentials for this exercise with you.)

Equipment

Bring at least one supple, sober and unobtrusive outfit. A light blanket. One wooden broomstick.
Be careful, the practices will often be done barefoot.

Information

Attach a cover letter and a CV. These requests will be submitted to the professors for selection of candidates. Confirmation of registration no later than one month before the start of the course.

This internship is full.