Stages

This week offers you an immersion in your personal mythology through the exploration of the parts of your body, your creativity and your feelings. You will dive to discover the connections between feelings, mindfulness, expressiveness, life themes, singular and collective stories.

The Self-Portrait process consists of freely exploring one's creative potential and going back and forth between movement, dance, play, drawing, writing and voice from the setting in motion of each part of the body.

This practice of intuitive performance is anchored in three levels of consciousness: the physical, the emotional and the mental/imaginary, allowing to apprehend oneself in its entirety and its authenticity. It gives voice to the memory of the body and its movement and invites to meet its deep identity, to put into perspective the relationship to oneself, to its history, to others, to the World. It leads to finding new paths in order to reveal the best version of oneself.

The focus of this course is on researching the quality of the gesture, of the massage as well as on the relationship between masseur and person being massaged by paying attention to being present to oneself and to the other.

During this week, you will be introduced, through practice, to reading and writing movement in the Laban notation system.

Go to the discovery of your voice, its various possibilities, open your ears to hear the sound, sensations, imagination, let yourself be transported by the voices of others, allow yourself all singing experiences, gain confidence and taste the pleasure of being vocally free...

To work on the voice is to work on the relationship: undoubtedly our relationship to ourselves, but also our relationship to others and our relationship to space.

This course is a tribute to my teacher Maria Knebel who was Stanislavski's last assistant and a student of Michael Chekhov.

The course requires each participant to be paradoxically available: controlled letting go.

An intense week to (re)discover the art of the actor while inventing together short theatrical performances, in different artistic forms, emphasizing sometimes on the body, sometimes on the voice or the text, but always inspired by a bold look at the world.

The internship will explore three axes.

The first is the anecdotal line of a scene: everything related to the unfolding of the story, the bodily actions, the physical manifestations of conflicts, the behavior of the characters.

Is there a recipe for developing your creativity?

If it were enough to apply a few "tricks and tracks" to be creative, it would be easy, right? So, should we think that being creative is difficult?