Summer Theater Workshop with the SITI Company - PDF document

Summer Theater Workshop with the SITI Co
Summer Theater Workshop with the SITI Company Class Descriptions The Viewpoints and the Suzuki Method of Actor Training are two distinct methods of actor training used in building and staging SITI productions. SITI Company members have been trained by Anne Bogart and Tadashi Suzuki and are uniquely e and train other theater artist in these challenging and innovative methods. It is through the dialogue between Suzuki and Viewpoints, these two, very distinct, yet complimentary approaches to the art of acting that the philosophy and technique of SITI Company is continually explored, revitalized, and articulated. SUZUKI METHOD
 Developed by internationally acclaimed director, Tadashi Suzuki and the Suzuki Company of Toga, the Suzuki Actor Training Method's principal concern is with restoring the wholeness of the human body to the theatrical context and uncovering the actor's innate expressive abilities. A rigorous physical discipline drawn from arts, the training seeks to heighten the actor's emotional and physical power and commitment to each moment on the stage. Attention is on the lower body and a vocabulary of footwork, sharpening the actor's breath control and concentration. VIEWPOINTS
 The Viewpoints is a technique of improvisation that grew out of the post-modern dance world. First articulated by choreographer Mary Overlie, the Viewpoints broke down the two dominant issues performers deal with - time and space - into six categories. She called her approach, the Director Anne Bogart and SITI Company have expanded her notions and adapted them for actors. The Viewpoints allows a group of actors to function together spontaneously and intuitively and to generate bold, theatrical work quickly. It develops flexibility, articulation, and strength in movement and makes ensemble playing really possible. In addition to daily training in Suzuki and Viewpoints, artists will participate in the following afternoon classes. Evening and weekend rehearsals will be an intrinsic part of the program as well. SPEAKING sound, and speaking the written word. Th

e work will involve a rigorous approach
e work will involve a rigorous approach to help the actor create a rooted ‘body-voice’, fundamental to good stage speaking and derived from the Suzuki Method for Training Actors developed by Tadashi Suzuki and his Company SCOT. MOVING The goal of the Moving course is to help the participant to be a confident, joyous, spontaneous, and deeply articulate mover. At the end of the training, the participants will have the ability to engage in intelligent and sophisticated movement/dance improvisations. DRAMATURGY Artists will meet weekly with dramatrug Norm Frisch to study Aaron Poochigan’s adaptation of The Bacchae and examine the role of text analysis in an artist’s preparation. Please come prepared with a notebook or laptop and your own copy of the play. COMPOSITION This year, accepted artists will join SITI in researching Aaron Poochigan’s translation of Euripides’ The Bacchae. Each week, participants will stage 10-minute compositions based upon this classical text. In the final week of the program, the entire ensemble will rehearse and perform an adaptation of the play that draws from the compositions of the previous weeks. This epic work will be directed by Anne Bogart and will feature the work of approximately 50 actors and 12 assistant directors and will be performed for an invited audience on the final night of the program. DIRECTOR’S TRACK Artists accepted to the Director’s Track will meet weekly with SITI Company members Anne Bogart and Leon Ingulsrud to discuss special topics in directing in addition to the practical issues coming up in their Composition rehearsals. In addition to collaborating with artists on the Performers track to develop new work each week, directors will assist Anne Bogart in the culminating performance of The Bacchae. Please note that application to the Director’s Track was competitive; if offered a spot in this track, you will receive e-mail notification. If you were not accepted to the Director’s Track, you may still choose to participate in the program as a performer.