Ostrenko method can be described as a valid combination of history pedagogy and theatrical practice. It’s a scientific approach, based on achievements in all fields of science and art. It spaces from the discoveries of K.Stanislavski, Vs.Meyerhold and M.Chekhov, to the Mechanics principles of Physics; from the theatrical experiments of J.Grotowski and E.Barba, to the educational philosophy of T.Suzuki and the martial arts experience of Taichi Chen style.
Ostrenko method guides the artists through the development of a “physical culture”: a form of self exploration which provides a fully alive and fresh presence of a performer on stage and originates a spontaneous blossom in each artist. The purpose of various sections of the Method, such as the principles of theatrical Biomechanics is to understand and experience the nature of the movement. The laws of Biomechanics become the means of exploration for theatrical experiments: a training routine which becomes a language for the body and enables performers to start an individual journey toward a bright form of expression.
Biomechanics principles, along with Stanislavski's and Chekhov's teachings and the martial arts techniques are the solid foundations to develop a common language among all talents involved in the rehearsal process as well as in each workshop session. Such principles become a structure of the thought, like second nature for artists, who develop common sensitivity and immediate understanding.
All talents involved in a perfromance project can actively participate to the creation process, relying on a bright and always fresh form of expression.
Ostrenko’s method generates a “living stage”, a favorable creative atmosphere during each work’s sessions; a valid and original system to develop body, voice, speech and for personal growth. The power of the method lies in its unusual simplicity, which allows conceiving performances at any level of intensity and complexity, by installing simple modules and exercises.
The core of Ostrenko creative process is practice and bodily contact, where actors develop communication and overall sensibility with minimal verbal expression. Each next step is connected with the previous and develops consecutively from simple to compound. This system of exercises naturally builds up particular atmosphere fostering creative trust among the actors, connection and group cohesion. The more independent and free actors become of the leader, the more fruitful eventually is their creation. At some point the leader becomes the observer of the creative process, and that is how most precious creative elements are born. The leader's task is to nourish the creative atmosphere in the group, just like the gardener creates the climate for his flowers, and the flowers choose their own proper unique magic moment to open and blossom.
Ostrenko method of work relies on performer’s physicality and physical action. The key towards unfolding the actor’s creative nature underlies in the body. Through the body and physical actions actors discover form, emotional colors and feelings. Actor’s relationship with artistic space, his freedom in improvisation and spontaneity play important role in creative process. As the result, intangible moments become tangible. Atmosphere and style are born inseparably from creative process.
Ostrenko’s Method resembles a “Meccano game”. Images can change and develop by adding and removing various components: playing with the different modules - from performance fragments - a full performance can take shape.