Movement for The Actor by Yoshiko Usami Sienkiewicz
|
Butoh & Movement for Physical Theatre Workshop
in Turin, Italy, 2016 |
What is "Movement For The Actor"?
What training would help the actor? It is my on-going research as a movement instructor and myself as an actor, performer and artist. From my experiences as an actor, teacher, director/choreographer, and creator, I have observed and discovered what would help us- a story teller, and a performing artist. So I gathered those materials, and have created a progression for actors' training. And I customize those materials based on what the actor or the program's objectives in the training. One thing I must say, I LOVE movement, and I LOVE story telling in theatre, film and television. I passionately want to share this crafts with many actors as much as possible, and I LOVE the transformation in class room, in rehearsal room and on stage, on camera and in the world!
The below is my class definitions I usually use for my college classes.
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"Through Movement training, Actors will develop a sense of awareness toward their own instruments (themselves). Just like a musical instrument, it has to be cared, maintained, exercised and tuned-up for performance. Each actor has a different instrument, and gaining the knowledge of them is a key to achieve the state of openness, which leads to the condition of “readiness.” (Available Body: being ready to perform in public; being able to live / to breath as a character) Through warm-ups, games, series of exercises and explorations, they develop not only physical & mental confidence, concentration and relaxation, but also stimulate their imaginations and creativity. Furthermore, actors will develop the craft of adjusting own instruments subtly but effectively in order to move them the way they want. This training cultivates actors’ potential abilities physically, energetically, emotionally, mentally, and spiritually, and it brings out the best possible variety of expressions in their arts. This training gives the participants the foundation of movement craft for actors which encourages them to access their instruments more holistically and synthesis with their acting and voice crafts.
Several disciplines will be used in this course, including: Merry Conway Movement, Trish Arnold’s Pure Movement, Butoh, Clown, Laban Movement Analysis, Noguchi Movement, Viewpoints, Yoga, Basic Acrobat, Basic Lecoq and physical theater and ensemble theatre skills. "
The below is my class definitions I usually use for my college classes.
-------
"Through Movement training, Actors will develop a sense of awareness toward their own instruments (themselves). Just like a musical instrument, it has to be cared, maintained, exercised and tuned-up for performance. Each actor has a different instrument, and gaining the knowledge of them is a key to achieve the state of openness, which leads to the condition of “readiness.” (Available Body: being ready to perform in public; being able to live / to breath as a character) Through warm-ups, games, series of exercises and explorations, they develop not only physical & mental confidence, concentration and relaxation, but also stimulate their imaginations and creativity. Furthermore, actors will develop the craft of adjusting own instruments subtly but effectively in order to move them the way they want. This training cultivates actors’ potential abilities physically, energetically, emotionally, mentally, and spiritually, and it brings out the best possible variety of expressions in their arts. This training gives the participants the foundation of movement craft for actors which encourages them to access their instruments more holistically and synthesis with their acting and voice crafts.
Several disciplines will be used in this course, including: Merry Conway Movement, Trish Arnold’s Pure Movement, Butoh, Clown, Laban Movement Analysis, Noguchi Movement, Viewpoints, Yoga, Basic Acrobat, Basic Lecoq and physical theater and ensemble theatre skills. "
