workshop

Workshop for movers by Flocks&Shoals // Berlin

Flocks & Shoals Performance Art Collective

Workshop for movers, from the material of our current performance development:

without me_zygodactyl

The focus of the 3-days workshop is the approach on issues of individual interaction and awareness about what constitutes an individual in the group context and what constitutes a group made of individuals. Another central issue is the exploration of the plain elemetal presence of the body and of the group.

The movement research is based on the observation of natural phenomena and concepts developed from it (eg. swarm intelligence and the concept of space between).

Date and time: 23 – 25 May 2014, Fri – Sun, 10.30 am – 3.30 pm

With: André Soares, Antje Schmidt, Catarina Miranda, Miranda Markgraf

Location: Dojo Kokugikan, Skalitzer Str. 33, 10999 Berlin (U-Bhf. Görlitzer Bahnhof)

Price: 160 euro/130 euro, if before 20. April 2014

Language: English (German, Portuguese and Spanish are possible)

Registration: mail@flocksandshoals.com

check our site!!

Flocks & Shoals Performance Art Collective

Training

Last Training session 2012 “Abandon all now”

 

Due to upcoming professional projects, the AAN training will discontinue its regularity from January 2013 on.

In the future, the training will take place only at some specific dates. The exact dates will be announced via mail, Tatwerk website or Facebook.
If you want to receive information for the next appointments, just drop a line under:
info@tatwerk-berlin.de

STAY TUNED!!

Last training day:

TUESDAY  11 / 12 / 2012

 

TRAINING INFO:

Throughout history, dancing has been used as a component of rituals, including initiation rites, where dancers used a combination of animal costumes and an adaptation of animal movements and gestures. This practice led to a close relationship between the human being and his totem animal, or even identification with the primitive animal – creating an authentic relationship between man and nature, giving the chance to reach a state of higher consciousness. During ritual celebrations, dancers and singers are both participants and spectators of the ceremony. It is because of the group that the ritual takes its full expression and meaning.

According to Patrice Pavis, theater today has a strong sense of nostalgia for its ritual origins, perhaps because western civilization is no longer seen as unique and superior and has opened its horizons beyond European cultures, to places where ritual still plays an important social role. The theater, after breaking away from the sorrow and trouble of the ritual and ceremony, is now desperately trying to return to its origins, as if this sacred form of theater is its only chance of survival when faced with the industrialized mass arts and the electronic tribe.

My thoughts are more focused on physical performance and the need to find experiences of authenticity, honesty: within human relationships, with ourselves, our personality, the space around us, and what we are on stage.

To venture into the research of this global awareness, this training is based on basic parameters provided by the practice of Body Weather. A deep relationship between the body and the space it inhabits is established, as well as with the constant changes both experience.

We work on issues such as discipline, precision, concentration, rhythm, coordination, awareness, resistance, availability, and presence, among others.

The way in which we reach our goals is through the exploration of our personal physical limits. The purpose of ceremonial rites is to be able to connect with the animal within us – primitive, instinctive, and sometimes unconscious. Our limitations act in the same way – they are complex, multidirectional – and to train our attitude towards them gives us autonomy, authenticity, and a more highly developed consciousness.

The individual task is to confront one’s limits in order to deepen and turn one’s body expression into a more clear and specific language. But there is a common task: to exercise the possibility for co-penetration within the group, understanding common rhythms and energies, and how they develop in a specific situation – our personal territory. Working on group consciousness helps us to tune our perceptions and feelings of the constant movement and evolution of what surrounds us.

“For me, dance has been a symbol of despair and courage.”
Min Tanaka

The training is open to dancers, actors, movers, performers, and all those who have an interest in exploring their physical skills.

___

 TEACHER
Rosabel Huguet

 

SCHEDULE
Tuesdays
10h – 13h

PRICES
First Try: 5€
Single Session / Drop in: 8€
Professionals: 6€
Tatwerk students: 4€

INFO
– Language: English  |  Deutsch
– Level: open to all levels
– Physical demanding: High
– ich@rosabelhuguet.com

 

by Rosabel Huguet

OPEN PHYSICAL TRAINING: ABANDON ALL NOW

 

Throughout history, dancing has been used as a component of rituals, including initiation rites, where dancers used a combination of animal costumes and an adaptation of animal movements and gestures. This practice led to a close relationship between the human being and his totem animal, or even identification with the primitive animal – creating an authentic relationship between man and nature, giving the chance to reach a state of higher consciousness. During ritual celebrations, dancers and singers are both participants and spectators of the ceremony. It is because of the group that the ritual takes its full expression and meaning.

According to Patrice Pavis, theater today has a strong sense of nostalgia for its ritual origins, perhaps because western civilization is no longer seen as unique and superior and has opened its horizons beyond European cultures, to places where ritual still plays an important social role. The theater, after breaking away from the sorrow and trouble of the ritual and ceremony, is now desperately trying to return to its origins, as if this sacred form of theater is its only chance of survival when faced with the industrialized mass arts and the electronic tribe.

My thoughts are more focused on physical performance and the need to find experiences of authenticity, honesty: within human relationships, with ourselves, our personality, the space around us, and what we are on stage.

To venture into the research of this global awareness, this training is based on basic parameters provided by the practice of Body Weather. A deep relationship between the body and the space it inhabits is established, as well as with the constant changes both experience.

We work on issues such as discipline, precision, concentration, rhythm, coordination, awareness, resistance, availability, and presence, among others.

The way in which we reach our goals is through the exploration of our personal physical limits. The purpose of ceremonial rites is to be able to connect with the animal within us – primitive, instinctive, and sometimes unconscious. Our limitations act in the same way – they are complex, multidirectional – and to train our attitude towards them gives us autonomy, authenticity, and a more highly developed consciousness.

The individual task is to confront one’s limits in order to deepen and turn one’s body expression into a more clear and specific language. But there is a common task: to exercise the possibility for co-penetration within the group, understanding common rhythms and energies, and how they develop in a specific situation – our personal territory. Working on group consciousness helps us to tune our perceptions and feelings of the constant movement and evolution of what surrounds us.

The training is open to dancers, actors, movers, performers, and all those who have an interest in exploring their physical skills.


“For me, dance has been a symbol of despair and courage.” Min Tanaka

 

 

Leading:

Rosabel Huguet

 

Time:

Every TUESDAY from 10h to 13h.

Also in August!!!

 

Location:

Tatwerk Berlin

Hasenheide 9
Gewerbehof Aufgang 1, 3. Stock
10967 Berlin
Telefon: 030 7790 5325

Prices:

Single Session: 8

Reduction price: 6€ (students, professionals and unemployed people)

First Try: 5

Contact / Information:

ich@rosabelhuguet.com / hallo@rosabelhuguet.com

info@tatwerk-berlin.de

www.rosabelhuguet.com

www.tatwerk-berlin.de

last

Last collective training

As you might have heard we keep on going the Ma Ai Training by ourselves until Elias comes back in June! And this Monday 30 is the last day that we are doing our collective training.

We are organizing a special training: all who have participated as “leaders” are going to do the last session together. It will be very fun!!!
After the training we invite you all to have a nice tee and talk about your impressions, we really need them to improve…

Let’s meet there!! Feel free to bring some friends who might be interested in the training.

Always in movement!

 

Place:

Dojo Kokugikan

Skalitzer Str. 33

Date:

Monday 30th of May

Hour:

From 10 to 13 h

with the work done

Working at the International Theatre Festival of Kerala, India

 ItFok 2011

The 3rd International Theatre Festival of Kerala (ITFoK), organised by the Kerala Sangeetha Nataka Akademi, Thrissur will be held during December 22 – 31, 2010 at Akademi premises in Thrissur. The festival will be inaugurated by the veteran theatre person Girish Karnad. Sangeet Nataka Akademi chairperson Leela Samson, eminent theatre personality Arundhati Nag and Amal Allana, eminent theatre person and Chairperson of National School of Drama will also take part in the ceremony.

The festival is being organised with the support of Indian Council for Cultural Relations (ICCR), Sangeet Natak Akademi, New Delhi and South Zone Cultural Centre, Thanjavur.

This year, the focus is on Latin American theatre. Four groups from Chile with one each from Cuba, Bolivia, Mexico and Columbia will participate in the festival representing Latin American Theatre. Apart from that, one each from Spain, Russia, Japan and England will also arrive in Thrissur for the festival.

Abhilash Pillai, Dean, Academics, National School of Drama, is the Festival Director. Leading theatre and performing arts personalities from all over India will take part in the colloquia that will be held every day. B.Ananthakrishnan, Dean, Academics, Dept. of Theatre Arts, Central University, Hyderabad will be the Colloquia Facilitator.

Six plays from the national level representing Indian theatre will be staged as part of the festival. The Malayalam theatre will be represented by nine plays including one children’s play by leading theatre groups of Kerala.

Three plays will be staged every day of the festival except the inaugural day and the concluding day, which will see two performances each. Each day will start with a Face-to-Face session with the directors of the plays that were staged in the previous day. This will be followed by the Colloquia. On the days when the colloquia are not scheduled, theatre-related films will be screened. In the afternoon, ‘Music Cross Over,’ an informal music event will be held in the Akademi premises, in which singers and musicians can participate in spontaneous music performances, which will be coordinated by leading music directors.

Every day, at 10.30pm., after the staging of the plays, traditional classical performances of Kerala, including Koodiyattam, Kathakali, Theyyam and Mudiyettu will be held.

The first Ammannur Puraskaram, instituted by the Kerala Sangeetha Nataka Akademi to honour leading theatre personalities at the national level for their lifetime achievement, in the memory of the late maestro of Koodiyattam, Guru Ammannur Madhava Chakyar, will be bestowed upon Badal Sircar on the inaugural day of the festival. The award comprises a purse of Rs. 3 lakhs, citation and a memento.

The highlight of the festival will be ‘Las Indias,’ a mega performance event, which will be developed as an Indian – Latin American Collaborated Project directed by the renowned theatre person Elias Cohen from Chile. About 45 artists from Chile and Kerala will participate in the event which will last around six hours, spread over an extended area of the Akademi premises including the roads outside. It will be a journey through the post-Columbus period of Latin America, portraying the milestones of Latin American social, political and cultural history. The event will have a total Latin American flavour, a carnival like air, complete with food stalls, rural market, music and dance. The viewers will be taken through all this to the culminating part of Forum Theatre. Forum Theatre, an aspect of the Theatre of the Oppressed, conceived by the Brazilian theatre practitioner Augusto Boal, envisages using theatre as a platform for bringing attention to a particular social issue faced by a particular community, through the creative intervention of what he calls the ‘spect-actors’ who will be asked to intervene in the performance with the aim of bringing out a positive solution to the issue being portrayed.

Text by: Renu Ramanath

Thanks so much to all the amazing people from the Festival, was an incredible experience. During one month I felt like at home!

 

ItFok 2011

photo by Eduardo Jimenez

Itfok 2011

photo by Eduardo Jimenez

itfok 2011

photo by Roger Rossell

itfok 2011

photo by Eduardo Jimenez

itfok 2011

photo by Roger Rossell

itfok 2011

photo by Subru Penattil

itfok 2011

photo by Roger Rossell

itfok 2011

photo by Subru Penattil

itfok 2011

photo by Roger Rossell

las indias

photo by Roger Rossell

Itfok 2011

photo by

Itfok 2011

photo by Roger Rossell

itfok 2011

photo by Roger Rossell

 

Preparations for the performance Las Indias by Elías Cohen: