TOWARD A POETIC THEATRE”:

 

A 6-DAY INTENSIVE TRAINING WORKSHOP

with

DOMINIQUE DE FAZIO

 

For actors and directors

in film and theatre

 

8-13 July 2019

Rome, Italy

 

In the Poetic Theatre, one uses many means – including physical actions and spoken words – “to make present” what can neither be shown nor said

 

It is an art that one can learn.

 

Basic Principles to be introduced and explored through practical training exercises, guided improvisations, and scene work during the six days:

 

1st Principle: Sense-Become-Follow

To listen to, and to correspond with the nature of things – not to try to overcome the nature of other people or things in order to achieve some purpose or objective – this is a secret of finding the continuity of one’s soul with one’s actions with the world around one.

 

2nd Principle: To create something to be exactly as it is.

To reveal, not to invent.

 

3rd Principle: How one approaches a creative problem IS what is MOST communicated by an actor on the stage, or on the screen, regardless of the role or the play.

 

4th Creative Principle: Trust that you are being yourself when you are being other people and other things outside of yourself.

 

5th Creative Principle

Every creative act, whether one intends it consciously or not, carries within it a proposal of how life is, what it means. An artist is one who accepts that responsibility for his creative acts, know that each creative act is a proposal of how life is, or could be.

 

6th Principle: GESTURES are not done; rather, they are permitted to come forth as the dynamic expression of one’s nature.

 

7th Creative Principle: Being able “TO RECEIVE” is the key. The prerequisite for receiving is not desire, but some degree of emptiness.

 

8th Principle:

A movement of the actor’s body, the sound of the actor’s voice, will always reveal from where it came. It’s ORIGIN. This is its “expressive logic.”

For the entire duration of the workshop all participants will have the chance to try this work and explore it practically.

 

***


Recommendations

Dress comfortably to allow the whole body to move freely.

In the classroom it is not possible to bring cameras, cell phones, or any kind of recording equipment (audio / visual).

CREA Studio will record the lessons for its own documentation.

 

Dates and schedule:

from tuesday 9th to friday 12th of July

hours 17:00 – 20:00

Saturday 13th of July

hours 10:00 – 13:00

 

Location:

Teatro Studio ARGOT
Via Natale del Grande 27

00153 ROMA

(near Trastevere)

 

FEES:

The registration fee to participate in the seminar is 550.00 euro.

DISCOUNTS:

A discount of 75.00 euro is offered for those who register and pay the fee no later than June 3, 2019; the amount to be paid will be 475.00 euro.

 


 

Introduction to

the IDIOM of FILM ACTING

 

A two day PRATICAL SEMINAR

with

Dominique De Fazio


from Friday 5th to Sunday 7th of July

Rome Italy

 

Cinema has a different idiom of expression from theatre.

Without the awareness of the unique elements of film language, even good theatre actors may fail to make the passage to cinema.

 

*

 

Some of the requisite characteristics of good film acting:

 

Intimacy. Movies are incredibly intimate. An actor must have the will and ability to show to the audience the intimate truth that appears in one’s face

 

Precision. In cinema, every minimum movement must serve the storytelling. Gratuitous naturalism does not exist

 

Birth of reality. We do not want to see what a character feels; we want to see the birth, the emerging, of what a character feels

 

Happenings”. The primary characteristic of the idiom of film acting is the sense that something is happening or about to happen, constantly. In every shot, every second, “a happening” must occur. If one learns the work in this way, he onewill break through barriers into film acting

 

The Music of Thought. In cinema, we need to understand the thought of the character as "movement", something happening in time, that is happening now and is almost audible like it were music

 

Continuity. Even if a film are shot in pieces, the final story must be put together n such a way so as to exhibit continuity. When you as an actor work in film, you must know how to plan your scenes so that you must foresee, and therefore deliver, what the editor will need to edit the movie

 

 

In this three-day seminar, you will learn

some specialties of film acting

what is requested from a movie actor

and how may you prepare to this

 

 

Every day will include:

  • Addressing a new idiom of film acting

  • Doing work and exercises to that make part of the training of a film actor.

  • Improvisation with volunteers.

(Dominique will choose volunteers from the group.)

Please Note: During the seminar there will be no shooting - The seminar will be practical and does not require the use of film cameras


REGISTER

 


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