Sunday, November 06, 2005
flyer
Wednesday, October 26, 2005
Dance Theatre Workshop in London promoted by roof theatre project
ROOF THEATRE PROJECT
is a way to re-integrate art and ritual in our daily lives, a way to re-connect the world and the arts, ourselves and each others.
The project started as a search of an acting method and became a method of action.
I started trying to find an universal method that would suit any actor independently of his age, gender, cultural or economical background.
Workshops and research were made in different countries, with the most various people and the understanding of that method extended into a social action.
More then a method the work became a practice, and that practice is fundamental for the understanding of its method.
For me theatre is a way to meet the self, an encounter of our body, mind and emotion- bringing awareness into our presence.
Theatre is a practice, an exercise, bringing out a more articulate consciousness of the all.
My work starts in the empty, neutral, black space.
Interculturalism is the base for my research allowing a neutral field of creation to be born.
Roof theatre method is one to embody mind experience.
The performer listens to their inner journeys and concentrates on the actions, realizing it's intention, and consciously responding to impulses.
The performer as an object of study is divided in parts that are organically connected between them, and must be re-connected whenever he is performing, as a different level of energy is being used. These parts are designated mental body, physical body and emotional body, and the relation between them is energy.
For energy we understand a movement of opposite forces or an interaction between concentration and release of tensions.
It's a very physical experience and there's nothing mystical or metaphysical in it.
The energy is classified in terms of quality, rhythm, direction, and intention, and must be realized objectively by the performer in action and in pre-action.
Therefore, all energy is spent in conscious movement or conscious stillness.
The awareness of this process is germinated in the performer through exercises that decompose his actions into stimulus, motivation, need, impulse, action and re-action.
The emotional body awareness is raised by exercises that work with memories, dreams, and motivations that are artists creative material.
Relaxation exercises, postures, massage, voice exploration and movement compositions are used to develop physical awareness.
Roof Theatre process is one of de-mechanization, the retuning, or de-tuning of the performer.
During my workshops we work from the starting point of what gives each one of us pleasure.
Whatever makes you dream, will be the starting point for a process that goes from physical warm up, search for movement identity, encounter of your own voice, creating a character, working a text , learning lines, work on physical actions, playing intentions,to observing techniques. The workshop plan is always changed according to the needs of the group participating.
We can focus on character, on movement, on the emotional body, or on how can one approach a play.
It's part of Roof Theatre process to allow each performer to express what they want to work and to give them the space to do so.
As a director, I don't give solutions, I guide the actor towards his own solution.
The workshop is an experimental space for each participant liberates his own creativity, a relaxed and involved event that allow people to develop their theatre acquaintance, body consciousness and self-wakefulness becoming more present and alive.
It is usually an unexpected experience for most of participants because it operates as an extreme emotional release, giving them a way to express themselves, withou needing any special techniques or divine talents.
ROOF THEATRE WILL BE PROMOTING A WORKSHOP IN DECEMBER IN EAST LONDON.
FOR MORE INFO CONTACT.
anabaldas2002 @ yahoo.com
is a way to re-integrate art and ritual in our daily lives, a way to re-connect the world and the arts, ourselves and each others.
The project started as a search of an acting method and became a method of action.
I started trying to find an universal method that would suit any actor independently of his age, gender, cultural or economical background.
Workshops and research were made in different countries, with the most various people and the understanding of that method extended into a social action.
More then a method the work became a practice, and that practice is fundamental for the understanding of its method.
For me theatre is a way to meet the self, an encounter of our body, mind and emotion- bringing awareness into our presence.
Theatre is a practice, an exercise, bringing out a more articulate consciousness of the all.
My work starts in the empty, neutral, black space.
Interculturalism is the base for my research allowing a neutral field of creation to be born.
Roof theatre method is one to embody mind experience.
The performer listens to their inner journeys and concentrates on the actions, realizing it's intention, and consciously responding to impulses.
The performer as an object of study is divided in parts that are organically connected between them, and must be re-connected whenever he is performing, as a different level of energy is being used. These parts are designated mental body, physical body and emotional body, and the relation between them is energy.
For energy we understand a movement of opposite forces or an interaction between concentration and release of tensions.
It's a very physical experience and there's nothing mystical or metaphysical in it.
The energy is classified in terms of quality, rhythm, direction, and intention, and must be realized objectively by the performer in action and in pre-action.
Therefore, all energy is spent in conscious movement or conscious stillness.
The awareness of this process is germinated in the performer through exercises that decompose his actions into stimulus, motivation, need, impulse, action and re-action.
The emotional body awareness is raised by exercises that work with memories, dreams, and motivations that are artists creative material.
Relaxation exercises, postures, massage, voice exploration and movement compositions are used to develop physical awareness.
Roof Theatre process is one of de-mechanization, the retuning, or de-tuning of the performer.
During my workshops we work from the starting point of what gives each one of us pleasure.
Whatever makes you dream, will be the starting point for a process that goes from physical warm up, search for movement identity, encounter of your own voice, creating a character, working a text , learning lines, work on physical actions, playing intentions,to observing techniques. The workshop plan is always changed according to the needs of the group participating.
We can focus on character, on movement, on the emotional body, or on how can one approach a play.
It's part of Roof Theatre process to allow each performer to express what they want to work and to give them the space to do so.
As a director, I don't give solutions, I guide the actor towards his own solution.
The workshop is an experimental space for each participant liberates his own creativity, a relaxed and involved event that allow people to develop their theatre acquaintance, body consciousness and self-wakefulness becoming more present and alive.
It is usually an unexpected experience for most of participants because it operates as an extreme emotional release, giving them a way to express themselves, withou needing any special techniques or divine talents.
ROOF THEATRE WILL BE PROMOTING A WORKSHOP IN DECEMBER IN EAST LONDON.
FOR MORE INFO CONTACT.
anabaldas2002 @ yahoo.com
Ana Baldaia
Ana Baldaia is a traveller, an actress, a writer, a liveart performer, a workshop leader, a performance researcher, a theatre director, a teacher, a feminist, a cooker, a lover, a friend, a sister and a daughter.
She studied acting in Portugal and Directing in New York.
She has directed workshops in Lisbon, Bristol, London and NY.
She is the Director of Roof Theatre Project.
She performed in different plays and video work.
She is currently working on a liveart show (video and performance) entitled Wake up Woman in London.
Monday, October 24, 2005
Carolina Andaluz
Carolina has been dancing passionately and professionaly for the last seven years. She teaches Belly Dancing in Portugal, and directs different shows. She has been working and travelling in Egypt, Morroco and Eastern Europe and she specialized herself in gypsy dance by getting involved with the gypsy communities.As a performer she is a pot of energy, passion and autrageous beauty.
Dance Theatre Workshop in London
Dance Theatre Workshop
Art as a vehicle of energy
Our focus is the performer's physical presence and vital energy.
Attending to the individual inner process,
we will use ancient dance expressions
and 'body and voice' theatre exercises
to make a connection between our mind, body and emotions.
The workshop is directed and divided in two parts by two artists in collaboration.
Dancing work
Directed by Carolina Andaluz
Belly Dancing
Gypsy dancing
How dance is an expression our deepest and utterly
personal feelings, a way to liberate ourselves and feel
more self confident about our sexuality.
Acting Work
Directed by Ana Baldaia
De-mechanization of performers
Improvisation
Emotional body
Creation of a character
"How theatre is a way to meet,
challenge, and re-create
ourselves finding a better way
to be present".
Saturday and Sunday
3rd and 4th December
at The Chisenhale Dance Space
FROM 3pm to 6pm
Price: 50£
Address:
64 - 84 Chisenhale Rd
London E3 5QZ
By Tube:
Central Line to Mile End or Bethnal Green Station
District or Hammersmith & City Line to Mile End Station
Both stations are in Zone 2
10 - 15 minutes walk to Chisenhale Dance Space
By bus:
8, 277, 379, D6
All stop at the Roman Rd/Grove Rd junction
2 minutes walk to Chisenhale Dance Space
for more info:
call: 0791 081 73 86
e-m@il: anabaldas2002@yahoo.com
www.chisenhaledancestudio.co.uk
www.anabaldaia.blogspot.com
www.artasvehicleofenergy.blogspot.com
Art as a vehicle of energy
Our focus is the performer's physical presence and vital energy.
Attending to the individual inner process,
we will use ancient dance expressions
and 'body and voice' theatre exercises
to make a connection between our mind, body and emotions.
The workshop is directed and divided in two parts by two artists in collaboration.
Dancing work
Directed by Carolina Andaluz
Belly Dancing
Gypsy dancing
How dance is an expression our deepest and utterly
personal feelings, a way to liberate ourselves and feel
more self confident about our sexuality.
Acting Work
Directed by Ana Baldaia
De-mechanization of performers
Improvisation
Emotional body
Creation of a character
"How theatre is a way to meet,
challenge, and re-create
ourselves finding a better way
to be present".
Saturday and Sunday
3rd and 4th December
at The Chisenhale Dance Space
FROM 3pm to 6pm
Price: 50£
Address:
64 - 84 Chisenhale Rd
London E3 5QZ
By Tube:
Central Line to Mile End or Bethnal Green Station
District or Hammersmith & City Line to Mile End Station
Both stations are in Zone 2
10 - 15 minutes walk to Chisenhale Dance Space
By bus:
8, 277, 379, D6
All stop at the Roman Rd/Grove Rd junction
2 minutes walk to Chisenhale Dance Space
for more info:
call: 0791 081 73 86
e-m@il: anabaldas2002@yahoo.com
www.chisenhaledancestudio.co.uk
www.anabaldaia.blogspot.com
www.artasvehicleofenergy.blogspot.com
