Diploma in two years
Course taught in Spanish (some personal comments in English and French possible)
Creation of a show at the end of the course
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Pedagogical programme
The school is offering two levels of training and specialisation in Etienne Decroux's dramatic corporal mime: one of initiation and a second level of deepening of the work. The duration of each level is one school year, from October to June. The student who completes the first level will receive a certificate of attendance and, for two years of study, a diploma.
We are looking at the training from different points of view, which are various ways of entering into corporal mime and which are the same in each level (1st or 2nd year), but with a different degree of deepening.
The course is articulated around four main studies: technique, repertoire, improvisation and composition, all related with corporal mime.
With the objective of widening the study programme, there is also a voice class. |
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Techniquea:
In the technical part of the class, one will study corporal articulation. As for voice, articulation is a condition for the clear enunciation of thoughts. To move the head without the neck, the bust without the legs, to stop a movement on a clear line. By concentrating on clarifying the movement, the student will be able to choose what is moving and what is not, and therefore, to enhance the clarity of his/her expression.
Another part of the class will focus on walks and displacements on stage. Walking and displacing are also about articulation in space, choosing an angle, knowing where one is, how and when one moves.
Finally, one will study the placement of the weight, the use of counterweights and the dynamo-rhythms. |
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Improvisation:
The study of technique is meaningless without its immediate application in improvisation. To improvise, in corporal mime, can be done in various ways. Sometimes, the subject of the improvisation can be a situation, a context from which the actor, alone, in a duet or in a group, will be free to let his/her imagination flow. And sometimes, the subject is limited to a set frame or path.
The aim of all improvisation is to extend the corporal vocabulary and to allow the student to make corporeal mime his/her own language. |
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Repertoire:
In corporal mime, the repertoire can be divided in two parts: figures, which are short corporal poems lasting between ten seconds and a minute, and pieces. Both allow the actor to consider and study corporal mime in its origin (as technique is born out of these pieces and figures) and its application.
Through a careful approach of some of these pieces, the actor will catch a glimpse of the complexity and beauty of this art form. Moreover, the study of the repertoire is an opportunity to confront new fields of expression and to broaden his/her acting possibilities. |
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Composition:
To study composition is to learn how to put together all what has been learnt and experienced. It is a very wide field that can encompass the composition of a corporal sentence, how to mix of various elements such as text, movement, and music, principles of dramaturgy, relations between an actor and a group, the use of props and set and the use of space in a show. Students work on various solo or group compositions each term.
During the third term, the students participate in the creation process of a show, and get the opportunity to perform the work in a theatre. This performance puts an end to the training process and allows progressive assimilation of this artform, as it will be a piece devised by the students and directed by the teachers of the course. To lead the student through this creative process and show him/her all the steps towards a public presentation of the work is essential to us. |
Voice:
The course offers this voice training, taught by Vicky Alvelo, because we feel that this is an ideal complement to the corporeal mime training to try to achieve a complete actor. Main aim: to recognise the instrument and to correct bad habits associated to a wrong use of the voice; discover and bring potential to a healthy and free voice; to integrate texts/songs in the composition process and learn to combine voice and movement. |
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Moreover, there will be theory sessions about themes linked to corporal mime or theatre in general, as well as various seminaries and special classes with the aim of widening the student's knowledge and giving him/her working tools to develop his/her personal and professional experience.
Evaluations:
The teachers will always be ready to listen to the student's doubts and follow his/her evolution within the school. They evaluate each student, in the artistic field and the pedagogical one, during the training process. There will be oral evaluations periodically.
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