Each of the 2-day Intensive Workshops deals exclusively with the subject offered, thereby enabling students to concentrate on that subject and immerse themselves in the material. The workshops do not require previous knowledge or experience.

The two workshops will be held one after the other, permitting students to attend either one or both. The timetable will follow that of the Summer School so that breaks and mealtimes coincide. Students can also stay at Clairefontaine for the duration of the workshops in which they are participating.

Prospective students should note that they may participate in the Summer School or in the Intensive Workshops but not both. Combining the two is not possible.



Workshop 1 (Sun 26th - Mon 27th July)

Exploring how to convey the meaning of a text through the body

Workshop 2 (Tues 28th - Wed 29th July)

'RADIO DRAMA' (acting, writing, directing, engineering)
Achieving dramatic effects through complex, layered voice and sound)

The Tutor
MIKE McCormack, actor, devisor, director, drama teacher and university lecturer, is a past Director of the Summer School. His biography is posted on the LEATSS website.

The Timetable
Each Workshop has 12 hours of class, broken down as follows:

Each day starts with a general Summer School warm-up at 9.00 am which Workshop students should also attend. During the first session on Day 2 Workshop students can attend a stand-alone session offered by one of the Summer School tutors.

2 nights’ accommodation with breakfast are included, as are all meals for 2 full days. Registration and room occupation will be in the evening prior to Day 1 (or earlier by arrangement with the course administrator). Students can choose to have supper on the day of arrival or the leaving day, depending on travel arrangements. Any extra night’s accommodation and supper will be charged at the room and meal rate.


Workshop 1      THE PHYSICAL TEXT

Sometimes we speak of a play as if it consists solely of spoken lines, though we know it comprises many texts, some of them physical. Movement and gesture can, of themselves, create meaning on stage. It’s striking that many theatre practitioner/theorists (even including Stanislavski) turn to physical expression as the true basis of authentic communication. The workshop will investigate a range of approaches to the physical text by exploring scenes from play-texts and substituting movement and gesture for discussion of meaning and motivation. Jacques Lecoq will be our primary guiding star.

Potential participants: Actors and directors. Because this course will explore the expressive use of the body in conveying meaning, it is principally aimed at actors who wish to learn new techniques or improve on existing ones, as well as directors who wish to expand their rehearsal repertoire of exercises.

Workshop 2      ‘RADIO’ DRAMA’

There’s a hackneyed old saying that ‘radio drama has the best pictures’, meaning the images created in the mind of the listener. When successful, the complex, layered sound can achieve dramatic effects possible in no other medium. We can be transported anywhere and to any time, the character can be anybody (or anything). We will experiment briefly with all aspects of the medium to create short, digital dramas exploring the freedoms and accompanying skills of the discipline. We’ll examine the particularities of acting, writing, directing and engineering for radio. Paradoxically, in the online, digital age this old medium has never been more present. And drama is never more present than when the imagination is richly involved.

Potential participants: Actors, writers, devisors, directors and the technically inclined. By its nature, this course should apply to a large range of theatre practitioners, not only those involved in radio. As our experience of theatre becomes more sophisticated, so also our awareness of the importance of sound, including the human voice.