Eastern actors respond to absolute codes that they deepen. These rules allow this art to be closed and devoid of evolution but unrelated to intrusions. During the performance we can observe how the actors move using body techniques that are not directly related to the daily movements. They make minimal movements with a maximum use of their energy, the opposite of the Western style. They use processes of bodily discomfort that forces them to look for ways to preserve balance through oppositions.

Western actors have freer formation than the Eastern. But they do not pursue any spiritual or ritual telos. In the West we focus more on the form of the work than on the form of the actor. The actor is not considered as the essential instrument of the theater nor someone who needs constant introspection in his art. Oriental theater focuses its work on the control of breathing, the slowing down of some bodily functions. Actions that contain the maximum intensity in the least possible activity.

We will train the body semiotics: we apply the training to improve the agility of the body so that it becomes as malleable as possible that does not oppose resistance or blockage. Free yourself from natural limitations by working on the axle, weight and placing yourself in a certain space. The body must be a tool to help us create, not an impediment during creation. Be concrete in every action.

For all this, theatrical traditions from India, Japan, China, or Bali will be applied and also from European groups that deeply developed the study of these unknown disciplines centuries ago in Europe.

Methodology:

The methodology that is used is far from the habitual learning that is used in many schools. It is not about giving a material so that a student learns it and repeats it. Nothing further. It is about teaching basics so that students can learn from different starting points, and they become an autonomous researcher to search for ways to delve deeper into a subject that might be unknown to them.

The objective is to gradually introduce the role of actor. Give tools so that each one can deepen in what he considers important, or what he thinks must change.

That is why no objective will be provided. The goal is the subjectivity of each person towards their own personal goals and desires.

Professor:

Course by Daniel Ginebroza Conde, a theatologist developing a theatrical alternative: “Theater should be a means to reach people and not the other way around.” He researches the knowledge of the human being as a learning through the body.

Learned in la Real Escuela Superior de Arte Dramático in Madrid, giving him enough reasons to feel a rejection of this type of training. He stayed in England at Rose Bruford College.

He continued to train in various courses, such as Jóvenes actores en el Teatro de la Abadía (Madrid), Introducción al Mimo Corporal en MOVEO (Barcelona), on the secret art of the actor in the headquarters of Odin Teatret (Denmark), on the study of Eurasian Theater at the Potlach Theater (Italy), next to Yoshi Oida (France), on the contemporary training of the actor with Igor Zolotovitsky (Theater of the Art of Moscow) or La veu que dansa with Anna Caixach.

His objective is to bring together a group of people who have research capacity and the character and strength enough to try to create a theater that serves as a framework to enable communication between people. In order to carry out this task, he has received support from La Fabrica Fabra i Coats i La Central del Circ.

Material:

Comfortable clothes. Mats for those who do not want to perform exercises on the floor. Notepad for those who wish to take notes. Water. Desires for experimenting.

Adressed to:

Anyone who wants can attend. Although it is true that it can cause greater influence in actors, actresses, dancers, directors, playwrights and people who work with the voice.