Luxembourg European Annual Theatre Summer School

2017 Skills Projects

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

Victor Garber (actor)


This course will be looking at some of the songs that have made English music a distinctive and enduring presence in musicals and song writing. We will work on material from different eras ranging from the comedy of Gilbert and Sullivan, Noel Coward, Flanders and Swann, Richard Stilgoe, Peter Skellern and Victoria Wood whilst also making time for the more serious and romantic G & S and Coward ballads. The sessions will incorporate work on building each participant’s technique as well as detailed rehearsals on the above material. Some of the songs I have chosen were originally intended to be sung as solos. However, we will work mainly as an ensemble but will also allow for solo lines as confidence allows and hopefully builds. I spend a great deal of my working life dealing with absolute singing beginners through to the technically able and experienced ones. Therefore, I would anticipate this course being suitable both for experienced and those new to singing.


“…the psyche contains all the images that have ever given rise to myths…” - C.G. Jung,

The Archetypes and the Collective Unconscious. This course looks at Archetypes and their gift to the actor. In order to play Malvolio, Medea or Lear’s Fool, we need to open to different parts of ourselves. At different moments we may recognize - in ourselves or in others - the Hero, the Trickster, the Mother, the Child, the Fool, the Revenging Woman, the Lover, the Crone.

Archetypes are unique yet universal expressions of humanity, recognizable in myths and folk tales from all cultures, in adapted forms in theatre plays and from our own dreams. Joseph Campbell believed that the Archetypes are built into the wiring of every human being.

We will work with a variety of exercises and also with a special set of half masks based on the Archetypes. Mask work is a wonderful way to release intuitively into ways of being and into expressions of energy that can be surprising yet at the same time deeply recognizable and strangely familiar. We will experience some of the mythic journeys embedded within plays throughout the ages.

There will be vocal work and perhaps work with text also. This course is an opportunity to open vocal, physical and imaginative expression and celebrate the mythic inside of us.


“Without wonder and insight, the theatre is just a business, with it, it becomes creation” Bette Davis

These sessions will look at the variety of ingredients that the director needs to gather in order to make the creative cake. We will be looking at how to inspire all creatives involved in sharing a piece of theatre with an audience.

How does the director respond creatively and intellectually to the material – be it text, music, image? Furthermore, how do directors involve their actors as part of the process? We will explore how set design, music, sound, performance, environment and stage configurations relate to an audience.

Our text work will concentrate on the work of Shared Experience and Theatre Complicite whose stylised work invariably challenges and sharpens the theatrical imagination. The work will include actor focussed sessions as an essential part of understanding the role and creativity of a director.

Over the last ten years we have seen mainstream theatre using animation technique to tell stories. A clear example is War Horse. Not long ago in Noel Grieg's ‘Poppies’ , the central character was Hampstead. Heath. Young Peoples Theatre and Community Theatre has been using such techniques for over 50 years.

This very practical course will use masks, puppets, dolls and inanimate objects to explore and develop an actor’s rehearsal and performance techniques needed to create illusion. We will discover ways of using invention and enchantment to create unique and imaginative performance that has excitement and relevance.