Italian Rapier & Dagger
Instructor: Ian Rose (USA)
Two feet, two hands, two weapons. We’ll shore up your footwork and explore the italian forms of the Rapier and its companion the dagger.
Equipment Needs: Rapier and dagger or equivalent learning tools (1 meter long stick, footlong kitchen utensil, etc)
Intimate ViewpointsInstructor: Samantha Egle (USA)
Utilizing some of the principles in the Viewpoints tool kit and techniques of developing intimate choreography for the stage, we will explore how to organically add depth and specificity to intimacy with intention.
Equipment Needs: A chair, a small object that can be held in one hand (apple, ball, etc.)
Emptiness Compass!
Instructor: Scottie Witt (Australia) - Open Discussion Class Format
This is a class where we can discuss your process of delivering stage combat to students. My process is detailed below as a starting point - let's see where we can go!!
The narrative in my head now given my age is to be more succinct with my education.
What fascinates me is that it doesn’t matter what I teach, I get amazed at the lack of specifics most students don’t pick up on – they appear to be obsessed with getting it right and the net loss is the details and specifics. It is impossible for an actor to look at the entire picture (by picture I mean choreography or sequence of movement etc) presented to them and then upload that and perform it straight away with extreme accuracy. I would even go so far as to say there is a disconnect between the upper body and the lower body in young actors today.
So what and how do I help to create a more detailed and specific physical actor? That is my dramatic question.
My Principles are:
- Process (working through something)
- Product (result)
- Content (task / exercise at hand)
During the exercises I set; students always struggle to remain in process
because they will think the content
is asking them for a product.
My belief is that to stay in a process a student needs to be in a state of emptiness. So to keep them in a state of emptiness I use this compass to help them navigate their own journey. The 12 points on the compass are access points for me to unpack further concepts and ideas. None of these words are original, it's more about how I have arranged them in this compass.
EMPTINESS COMPASS
Chaos & Order
Spirit & Energy
Listening & Sensitivity
Time & Space
Structure & Alignment
Function & Form
Empathy & Harmony
Patience & Understanding
Versatility & Adaptability
Truth & Logic
Contrast & Contradiction
Problem Solving & Prioritising
The combination of the Emptiness Compass
and the Principles
makes up my iOS. To have a deeply well programmed iOS one needs to develop deep processing power. Once you have that the iOS runs in the background so one can make deliberate choices. To extend the metaphor a little; learning a waltz, sword fight, footwork, slapstick routine or any other expression of movement for story telling are just the 'aps' that are opened up and run by the iOS.
This is how I navigate an actor’s development and what is happening in the room for me so I can make a choice about their journey. And truly speak to the moment as a teach / to go where the class or moment is taking me and therefore truly be there for the student.
Equipment Needs: N0thing