Theatre Biomechanics

International Physical Theatre Workshop
"Michael Chekhov, Vsevolod Meyerhold, Konstantin Stanislavski"

5 - 11 November 2021
Berlin - Germany


The workshop is designed for actors, dancers, physical theatre performers, contemporary circus performers, choreographers, and directors - interested in learning new and deepen already known techniques and approaches towards the performers' training and preparation, as well as finding new international network opportunities with colleagues from around the globe. 



PROGRAM
The program includes intensive practical training and discussion forums with Sergei Ostrenko and Gennadiy Ostrenko, both professional Russian theatre and movement directors and educators in the field of Physical Theatre.

The program focuses on Ostrenkosapproach to actor’s training, relying on the Russian Theatre Tradition and the newest experiments in performing arts. 
The practical training is focused on the psycho-physical approach to the art of acting relying on the teachings of Russian outstanding theatrical innovators - Vsevolod Meyerhold, Michael Chekhov, and Konstantin Stanislavsky. 
Participants will explore:
    • Principles of "Theatre Biomechanics", "Psychological Gesture", "Physical Action";
    • Techniques to work on ensemble building, creative and trusting atmosphere;
    • Improvisation techniques and devising movement pieces in performance;
    • Various movement techniques inspired by the developments of 20th-century avant-garde theatre;
    • Ways of unfolding performer's physicality, stepping beyond the limits of text-based acting. 
The program of the workshop is practically/physically intensive. Practical sessions develop in the form of various exercises that progress from simple to compound. 
The training intentionally is designed as an intensive lab with the participation of practitioners from different field of arts and from various countries. 
Multidisciplinarity and multiculturality are one of the most important principles of our programs. Working alongside colleagues from different countries and cultures is an excellent opportunity to find innovative, new, multidimensional approaches to rehearsals and performances.

IUGTE workshops offer great opportunities to approach unique methodological and practical materials that will enrich your professional skills and will offer you the possibility to share an intense creative experience at a global level!

The working language is English


CERTIFICATE 

Students can receive the Certificate of Participation in this intensive training upon submitting the detailed creative report/essay (1500 words) after participation in this intensive workshop. Evidence that you are serious about your education and professional development.  



REGISTRATION 

To apply for participation, please fill in the online Application Form
If you have questions about this program, please contact iugte.projects@gmail.com

  Early Bird Registration
until 3 April 2021
 Registration 
after 3 April 2021

Participation fee 

 450 EUR 550 EUR

The fee covers participation in all events of the program - practical training and discussion forums with Ostrenko Brothers.
Please, note, that the group is formed on a competitive basis.



SCHEDULE 
The organizers reserve the right to make changes and add-ins in the schedule.

November 6-11: 
10:00-13:00 - Practical Training
13:00-14:30 - Lunch Break
14:30-18:00 - Practical Training



PLACE - KATAPULT STUDIOS 
Katapult is Berlin's newest space for education, creation and exhibition in contemporary performing art. A community-driven project run by a small team, assisted by a large crew of volunteers, agile and flexible with a do it yourself mentality - offering residencies, workshops and open training for artists, creators and self-starters.

Venue Address: Wilhelminenhofstr 91, 12459 Berlin. (Nearest S-Bahn: Schöneweide)

The nearest international airports are 
Berlin Tegel Airport (TXL) and
 
Berlin Schönefeld Airport (SXF)
.





            


"What an enormous gift that “letting go” was! I carry the benefits of it with me still, into all my work and teaching that is to follow. 
My time with IUGTE served to clarify and hone what I already know, it exposed me to new techniques and methodologies, and ultimately, it cast new light on the theatrical path ahead of me".
Adam Noble, USA

"I loved the fact that the lab was so international and we were working with artists from around the globe. I am sure that after this lab I am a better actress"
Sofia Maria Kikilintzia, Greece

"That kind of “play analysis” through physical work was more effective, since we have not to argue with the director on conceptual problems, which could never be solved, but focusing on doing simple physical task"
Siu Hei Chung, Hong Kong

"I continue thinking that the work of Biomechanics is very interesting and I will try to work applying it".
Maria Casellas i Artigas, Spain

"I have never studied before the “throwing stone” of Meyerhold and it was nice learning a little peace more and more deeply every day studying Meyerhold´s main points and using this points in that sequence"
Elisenda Renom, Spain

"This experience has re-awakened my desire to learn, to find projects and to improve my teaching and reminded me that a theatre artists training cannot end when they enter the professional world. In reality, that is when it should begin"
Sarah Dodd, UK

"The structure of the workshop is excellent. The morning warm-up is consistent, the afternoon sessions are demanding and exhilarating and the evening 
discussions are enlightening and informative. I would highly recommend this workshop to any artist interested in learning about Meyerhold’s Biomechanics, ensemble 
building, directing, physical scoring and vocal scoring in the rehearsal process and how to implement it in rehearsal"
Laura Ricard, USA

"It was nice to practise the ‘Throwing the Stone’ etude and understand its context. For me the technical approach in learning the etude in a more detailed way was a good step forward and I feel I would like to still move forward in more etudes and get to know the forms of Biomechanics and how these relate to the various underlying principles".
Pieter-Jos van Kampen, Netherlands

"I was thrilled by the way in which I encountered each member of the group in the flow of the exercises and how I found myself excited by the special connection I made with certain participants...I have made lasting friendships and potential future creative partnerships that have been earthed in unforced encounters on the workshop floor in a flow controlled by an expert helmsman.  
David Calvert, UK