There’s much more information about it on the official page here: Psychophysical Actor Training
Hong Kong Baptist University Dramatics Club recently invited me to give a workshop introducing physical theatre, as part of a bigger series of theatre practitioners giving workshops on their specialisations. My own workshop focused mainly on physical approaches to creating character and starting to build dialogue through physical theatre.
Photos From the Workshop
Just sharing some photos from my actor training workshops (Actor Training Through Physical Theatre) that I’m running at We Draman. This was from our session on physical approaches to creating a character – you can see us doing some animal walks and commedia dell’arte archetypes.
Actor Training Through Physical Theatre
It’s possible that I’ll be doing an intensive workshop series in mainland China soon, through my own company – more news on that to come.
I’m co-teaching a course on polyphonic song in Hong Kong – the full title is long: 同流演藝課程：複調演唱：聲音訓練與劇場應用 Polyphonic Singing: Voice and Theatre Practice. Details in Chinese here.
Here come the details:
Polyphonic song is a tradition of singing together in different voices, which combine to make the whole sound. The origins vocal polyphony can be traced far back in the cultures of Greece, Albania, Serbia, and Georgia. Georgian polyphonic song is described by UNESCO as an Intangible Cultural Heritage of Humanity (as is Chinese tea!). Songs are taught through listening rather than by following scores, and are usually sung a cappella.
I’m running another series of training workshops next year (2015). This time they’ll have more of a focus on actor-training, with some text work and leading up to a final public performance. Details are available in Chinese here.
About the Course
There are two major schools of thought in actor training, focusing on either the psychological process, or on physical technique. Practitioners of physical theatre place an emphasis on the latter, but this physical engagement often leads to a heightened emotional responsiveness, and improves the performer’s ability to project (rather than simply experience) a character’s psychology.