Luxembourg European Annual Theatre Summer School

2016 Skills Projects

Theatre demands different muscles and different aspects of one's personality.

Victor Garber (actor)


Janice Dunn: (Acting)  RE-ACTING. TRUTH IN ACTION
This is a performing course that aims to find a way to stop acting and start reacting.
It addresses those difficult moments we have all had, as performer or director, where we feel stuck, awkward, or out of touch with the character or text. This course will help define the choices we need to make, and model how to re-focus and re-align ourselves for truth.
We will explore and avoid the cliché and automatic choices, and replace them with genuine human responses as our characters.

We will start with solo work and direct address offers, using exercises on listening and being present, and build up to pair and group work on short scenes. We will also utilize physical action exercises, and impulse work, to help us find a new dynamic when approaching rehearsal and character development. We will also explore the idea of opening ourselves creatively via tension / relaxation work, and on making and receiving offers in partnership with other actors.
Some of the texts used will be by Caryl Churchill, Willy Russell, Arthur Miller, David Eldridge and Harold Pinter.
The course is suitable for both experienced and inexperienced participants, and will be fun and supportive, but will require focus, dynamism and commitment. it won't be scary though....at least not in a bad way!

Phil Clark:   (Directing) THE DIRECTOR’S HOW’S, WHY’S & WHAT’S 
There are only three important words for a Director and Ensemble to consider when creating a production. WHY, WHAT, and HOW.
The WHAT is usually a given (the text) but without a deep exploration and analysis of the WHY you will never discover the HOW
This course will explore what the director needs to do in the pre-liminary stages of work; preparing for rehearsal and creating a positive and creative dialogue with Designers, Writers, Choreographers and Composers. We will then pursue various rehearsal room techniques including - sub texting, setting objectives, finding the inner voice, unit-ing and creating the ensemble voice that is managed through positive leadership and direction leading towards a shared ownership of the production.
We will look at the first day of rehearsals, working through inventive and creative ways to read through the text and create an ensemble voice.........moving from the page to the floor.

Chris White:  (Devising)  THE DYNAMICS OF DEVISING
How do you create a piece of theatre from nothing?  Using a range of stimuli - Grimm's fairy tales, photos, paintings, poetry, newspaper articles and music we will devise and shape theatrical events.  We will look at how identifying episodes and story-boarding can give structure and meaning.  What happens if we perform the last episode first?  How does the use of narration, direct address and inner monologue help communicate ideas to an audience?  From improvised scenes we will create scripts. The use of simple props and garments will be used to create character, relationships and physical transformation. How does the use of song, sound and music help to create atmosphere and tension?

Helen Ireland: (Singing)    CHORAL COMBINATIONS   (Songs, Games & Exercises For Ensemble Singing)
This course is suitable for anyone who wants to take part in group singing. If you have lacked the courage to sing with other people, or you wish to revive skills you left far behind, then take heart and try this course. We will begin each session with a vocal/physical warm-up and then learn our material in a range of ways so that hopefully everybody’s needs will be catered for.
There will be a wide variety of music covered: music from many eras and styles and countries – Folk, Traditional, Gospel, Ethnic, Pop.  We will try rounds and songs in 2, 3 and possibly 4 parts. You do not need to be able to read music; just bring your breath, energy and ears.