動物、物質、角色塑造與小丑
表演工作坊
指導老師： 馬照琪 （臺灣）
「平台劇場工作坊系列 ００5」
主辦單位： 平台計劃
日期／時間： 2010 年 9 月 9 日（星期四）
１９００﹣２３００ （四小時） 2010 年 9 月 10 日（星期五）
１９００﹣２３００（四小時）2010 年 9 月 11 日（星期六）
１５００﹣１８００及１９００﹣２２００（六小時）2010 年 9 月 12 日（星期日）
１１００﹣１４００及１５００﹣１８００（六小時）
工作坊地點： 吉隆坡表演藝術中心 / KLPac, Studio 5
工作坊人數： 預計招收２０人（學員）5人（旁聽）
工作坊對像： 演員、導演及戲劇訓練導師等
工作坊收費：
RM 380 （２０小時）
聯絡方式：
012-607.1318／012-274.4292/012-266.1579
pentasproject@gmail.com
報名及繳費方式：
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３． 繳費方式：﹣
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b. ATM轉帳付費或支票匯款。
銀行戶口名字：Pentas Project Theatre Production
銀行： Public Bank
帳號：３１４１７６０７２４
４．匯款後請用電話或電郵的方式和我們聯絡，以確 認您的姓名及匯款帳號。
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課程內容：關於角色塑造在賈克樂寇表演體系中，肢體表現是重要的一部份。相對於一般認為所謂史坦尼表演法，認為表演是由內而外散發出來，賈克樂寇認為表演是由外而內。也就是說，一個角色的創造, 可以先由形體的摹仿與揣摩開始, 然後再由外而內, 慢慢建構角色的內在情感與精神狀態。
那麼, 要如何從外在進入到角色之中呢？賈克樂寇認為, 並不是要寫實的摹仿, 而是藉由對大自然、動物、物質等等動態的分析與摹仿, 進入到這些大自然的動態之中, 來試圖引發出一種情緒或是意象, 進而“創造“出一個戲劇人物。也就是說, 在這裡不是要講求“寫實性“的表演, 而是藉由模仿大自然的動態, 創造出一個“戲劇性“的角色。所以在這一次的工作坊當中, 我們將深入探討何謂“人類共通的詩意本質“（fonds poetique commun）, 藉由對空間、光線、顏色、物質、聲音等 等物質現象, 產生感性的情感聯想, 接著, 我們再用肢體動作, 將這些無法言說的情感與動態, 用動作表現出來。藉由這樣的訓練, 我們可以慢慢進入到大自然萬物的動 態之中。比如, 風火水土、動物、物質…等等。用動態默劇（Mimodynamique）的方式, 將這些 元素用動作、方向、節奏、韻律等等表現出來。這裡我們要求的, 不是百分之百寫實的模仿, 而是用一種更詩意的方式, 將萬物的精髓與動態表現出來。
從動物的模仿出發, 我們可以慢慢進入到戲劇角色的塑造。從動物的動態引發出角色的走路與姿態, 進而讓人物個性的塑造更具立體感與戲劇感。
關於小丑小丑是賈克樂寇學校兩年課程的最後一個單元。這也代表, 小丑所體現的, 是所有表演技巧之集大成。唯有真正俱有豐富經驗的表演者, 才有可能成為 好的小丑演員。
在這裡我們所只的小丑不是馬戲團或夜總會式的小丑, 而是以個性為主的戲劇式小丑。也就是說, 我們尋找的是以戲劇為表演形式的小丑。小丑表演的最終目的是讓人發笑, 但是如何讓觀眾發笑呢？就像賈克樂寇說的： “小丑只存在於扮演他的演員身上。我們全都是小丑，我們全都自認為英俊又瀟灑，聰明又強壯，但其實我們每一個人都有弱 點，都有各自愚蠢又可笑的地方；而當我們將它們表現出來時，觀眾就會發笑。“ 所以 , 戲劇式的小丑必須首先誠實的面對自己, 並且接受自己, 然後在舞台上放下一切的防備, 將自己的真實面貌呈現在觀眾面前。每一個演員都有屬於自己的小丑, 別人無法取代。而小丑表演最重要的是, 沒有一個小丑是要上台搞笑的, 他們的態度都是認真而嚴肅的, 他們的情感與表演也都是真實的。一個表演真實的小丑才會是好笑的。
課程內容大綱暖身。音樂、文字、顏色練習。
中性面具動物動態分析與練習。
從動物到人類。角色創造練習。介紹紅鼻子。
尋找每個人的小丑。單人或分組的小丑即興表演練習。戲劇理論探討。
講師會隨著學員的吸收程度而作課程節奏上的調整。
主辦單位： 平台計劃
日期／時間： 2010 年 ９ 月 8 日（星期三）@ 7:30pm
演出地點： 仁生劇場
入場免費
內容：賈克樂寇的表演體系是從中性面具開始, 小丑結束。
他曾經說過, 中性面具代表的是一個沒有個人性的群體, 我們要追求的, 是所有人類之間的共通性。而小丑卻恰恰相反; 小丑代表的是個人性發揮的極致, 每一個小丑都不同, 他所強調的是每個個體的內在狀態。賈 克樂寇的訓練, 就是一個從追尋人類共同詩意特質開始, 到挖掘每個個體之獨特性為結束。在這樣的旅程當中, 又經歷了哪些階段？
本次的示範講座, 將就這個主題, 作深入的探討。同時也將配合影片賞析與動作示範。
有關賈克．樂寇 ( Jacques Lecoq, 1921-1999)
當代最具啟發性的戲劇教師。二次大戰時期為運動員及物理治療師時，開始了對於身體結構與運動方式的研究。１９４８年前往意大利，擔任戲劇老師與劇場導演。 １９５２年他與朋友共同創立了位於米蘭的皮可羅劇團 (Piccolo Teatro)戲劇學校。１９５６年他回到巴黎，成立了著名的默劇與戲劇國際學校 (Eecole International de Mime et de Theatre)。賈克樂寇對於人類肢體語言之研究具有極大的興趣，但是他排斥僅局限於傳統啞劇與純粹模仿的狹義默劇。藉由意大利即興喜劇的啟發，他開發 出戲劇肢體的新的可能性並且不再將語言屏除在外，同時也發展出對個性小丑的研 究，以及面具的表演技巧，並於世界各地主要戲劇節主持戲劇研習營與工作坊。
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馬照琪簡歷
馬照琪沙丁龐客劇團團長 ／ 劇場編導、演員 ／ 表演老師、中 英法翻譯。
1997年台灣大學經濟系畢業，在校期間即參與台大話劇社演出及製作。
1999得到紐約大學教育劇場系（Educational Theatre, NYU）碩士，並參與倫敦及愛丁堡社區劇場及教室劇場工作研習營。2001年畢業於巴黎賈克樂寇國際戲劇學校（École internationale de théâtre Jacques Lecoq），專研默劇、小丑、體操、義大利即興喜劇、希臘悲劇、中性面具、半臉面具、通俗劇、即興、丑角（Bouffon）等，同時接受導演與編劇的訓練。翻譯作品：由賈克樂寇所著之表演理論書籍詩意的身 體（Le Corps Poétique），於2005年2月由桂冠書局出版。2002年回國後參與許多大小劇團的製作，擔任演員。之後於2004年推出首度編導作品—異境詩篇（莎妹劇團，紅樓劇場）。2005年初成立沙丁龐客劇團，於2005年底推出自編自導自演創團作—《在世界的房間》（國家劇院實驗劇場），並入選文建會出國巡演計畫參加2007年法國亞維儂戲劇節。2007年推出自導自演女丑獨角戲《一個人的晚餐》，並於2008年再度入選文建會計畫前往法國亞維儂藝術節演出一個月。2008年編導兒 童劇《馬穆與精靈》參加社教館兒童劇演出以及台北兒童藝術節，大受家長與兒童好評。馬照琪大部分時間投入戲劇教學與編導演的工作。曾任春禾表演班講師。莎妹劇團戲劇課程老師及翻譯，復興高中戲劇班畢製編導，社教館文山分館兒童戲劇課程講師，目前為臺北藝術大學戲劇系兼任講師，台灣藝術大學戲劇系兼任講師，並不時受邀出國主持短期戲劇工作坊。__________________________________________
Clown and the creation of animals, materials and characterPerforming WorkshopInstuctor： Ma Chao Chi （Taiwan）
** Workshops will be conducted in Mandarin & English
Organized by： Pentas Project Theatre Production
Date／Time： 9 September 2010 (Thursday)
1900 – 2300 （4 hours） 10- September 2010（Friday）
1900 – 2300 （4 hours）
11 September 2010（Saturday）
1500 – 1800 and 1900 - 2200（6 hours）12 September 2010（Sunday）
1100 – 1400 and 1500 - 1800（6 hours）
Workshop Venue： Kuala Lumpur Performing Arts Centre / klpac, studio 5
Number of Participants： 20 participants + 5 observers
Target participants： Actors, Directors, Drama teachers etc.
Fees : RM 380
Contacts :
012-266.1579 / 012-274.4292 / 012-607.1318 / pentasproject@gmail.com
How to apply and paying application fees :
1. If you are interested, please e-mail or give us a call, we will then e-mail an application form to you.
2. Please complete the application form and e-mail it back to us. The workshop fees must be paid before 15th AUGUST. If payment is not received in time, the organizer has the right to cancel your application.
3. Payment :-
a) Pay cash directly to the person in charge of the workshop
b) Bank directly into our account or write us a cheque
Account Name : Pentas Project Theatre Production
Bank : Public Bank
Account Number : 3141760724
4) After banking in, please notify us via phone or e-mail details of your name and deposit numbers.
5) Please keep the deposit slip for further confirmation.
Workshop Content:
About the shaping of Character
In the performing system created by Jacques Lecoq, physical movement is one important element. As oppose to the Stanilavsky performing system that emphasize on the fact that performing is from in to out, Jacques Lecoq believes that performing is from out to in. The creation of one character starts from the creation and imitation of physical movement and appearance, and slowly moving from outer physical presentations to establishing the inner feeling and state of mind of the character.
How do we then enter the character? Jacques Lecoq thinks that an actor/actress need not imitate realistic character, but through analyzing the movement of nature, animals or materials, one will go into the movement of nature and try to initiate an emotion or metaphorical representations, and eventually creating a theatrical character. Jacques Lecoq does not emphasize on performing realistically, but to create a theatrical character through imitating the movement of nature.
Hence in this workshop, we will explore deeper what is the “common poetic essence of human being” （fonds poetique commun）, creating sentimental imagination follow by using physical movement to present unspeakable feelings and movement, through space, light, color, materials sound and others material phenomena.Through these trainings, we will slowly moving into the movement of nature, for instance wind, land, water and fire, animals, materials etc. These elements will be presented by using the method of Mimodynamique, , through movement, sense of directions, rhythm and tempo. Here, we do not require fully realistic imitation, but to use a more poetic way to present the spirit and movement of exi sting nature.
We will slowly going into the creation of theatrical character by starting off with the imitation of animals. Through the movement of animals, we will be able to initiate the way of walking and body gesture of the character, hence creating a more solid and more theatrical character.
About Clown
Clown is the last chapter of the 2 years programme of the Jacques Lecoq school training. This also signifies that, clown is actually the combination of all performing skills. Only performer with rich performing experience can be a good clown performer. The clown we mean here is not clown that are seen in circus or night clubs, but theatrical clown that has a character. We are searching for clowns that utilize drama as a performing form. The aim of clown performance is to let people laugh, but how to make people laugh? Like what Jacques Lecoq once said, “ Clown only exist inside the body of the performer who performed . We are all clowns. We thought we are handsome and charming, smart and strong, but actually w e all have weaknesses and things that are stupid and dumb. And when we performed that all out, audiences will laugh“.。Hence, theatrical clown must confront himself/herself honestly, and acceptinghimself/herself. Then he/she can put down all the barriers on stage, and presenting the true self to audiences. Every performer has a clown of his/her own, no one can replace it. The most important thing of clown performance is that no clown wants to play fool on stage, they are all serious. Their feelings and performance are real, only a clown that perform the true self will make people laugh.
Workshop content
１． Warm up.
２． The practice of music, words and color.
３． Neutral mask.
４． Analyzing and practicing animal movement.
５． From animal to human.
６． Practicing creating character.
７． Introduction to the red nose.
８． Searching for everyone’s clown.
９． Improvisation of clown (individual or group)
１０． Exploring the theories.
The instructor will adjust the rhythm of the course based on the development of the participants.
__________________________
The Jacques Lecoq Training MethodPerformance Lecture
** will be conducted in Mandarin
FREE ADMISSION
Organized by：Pentas Project Theatre Production
Date/Time：8 September 2010 (Wednesday) @ 7:30pm
Venue: Yan Sang Theatre, Shaw Parade Changkat Thambi Dollah, 55100 Kuala LumpurAbout Jacques Lecoq (1921-1999)
Jacques Lecoq was born in Paris on December 15, 1921. In 1937 he began studying physical education and sport which he taught from 1941 to 1945, gaining teaching diplomas from the French athletics and swimming federations. His interest in physical education brought him into contact with Jean-Marie Conty, a master of physical education and friend of Antonin Artaud and Jean-Louis Barrault. By 1945 Jacques Lecoq had started acting with Gabriel Cousin and the two founded a drama group. He was then taken on by Jean Dasté as part of a theatre company known as the "Comédiens de Grenoble", where he was put in charge of the physical training and body movements of his fellow actors. Here he discovered masks and was introduced to the ideas of Copeau, to the point of later identifying with him as his indirect heir.
In 1948 Jacques Lecoq went to Italy where he settled for eight years. He staged his first pantomimes at the university theatre in Padua, while in the city markets he discovered Commedia dell'Arte. He met the sculptor Amleto Sartori and together they embarked on research into masks, ultimately leading to joint projects including, inter alia, the "neutral mask". Invited by Giorgio Strehler and Paolo Grassi, he joined them for the launching of the school at the Piccolo Teatro in Milan. Later ventures included work as a director and choreographer, working together with figures such as Dario Fo, Franco Parenti, Luciano Berio and Anna Magnani, pursuing the quest for new movements suited to contemporary music, reviews, opera, and devising movements for choruses in Greek tragedy in Syracuse.
In 1956 he came back to Paris and opened his School of Mime and Theatre. At the same time he set up his own theatre company, worked at the T.N.P. (National Popular Theatre) with Jean Vilar, and also on television, but before long the school had expanded and he devoted all his efforts to teaching.
From 1968 to 1988, Jacques Lecoq was a teacher at the French school of fine arts (Ecole Nationale Supérieure des Beaux-Arts) where he developed a teaching programme on architecture based on the human body, movement and the "dynamics of mime". In 1977 he founded the stage design department of the school, known as LEM (Laboratoire d'étude du mouvement — movement research laboratory). Jacques Lecoq was a member of the Union of Theatres of Europe, touring the world as guest teacher and speaker, giving master-classes and lectures, including the performance lecture entitled "Tout Bouge" [Everything Moves].
Permanent video records were made by Patrick Lecoq in 1983. In 1997 and 1998, Jacques Lecoq worked in close partnership with Jean-Gabriel Carasso, Jean-Claude Lallias and Jean-Noël Roy, ultimately producing the book "Le Corps Poétique" and producing two 45-minute documentaries for French television.
Only a few days before his death, on January 19, 1999, Jacques Lecoq was still teaching at the school.
________________________________________
About the InstructorDirector : Ma Chao-chi
Theatre director / actress / theatre teacherProfessor of National Taiwan University of Arts and of Taipei National University of Art
After having finished her studies in Humanity and Economy at National Taiwan University, Ma Chao-chi has decided to fallow a professional theatre study at the Educational Theatre program at New York University and then went on studying at the International School of Theatre Jacques Lecoq at Paris where she learned Mime, Acrobatics, Masks, Clown, and physical theatre.
In 2002, she made a tour in east and central Africa with Company Imibala where she performed in a street theatre. She has also given theatre workshops to children and artists in the counrties where they performed.
She then returned to her native country, Taiwan (Repiblic of China), in 2003, and created her own company « Theatre de la Sardine » in 2005 where she tries to find a new forme of popular theatre by mixing the street theatre, mime, masks, clown, theatre of objects, dance, and acrobatics.
She transtated the book « Le Corps Poétique » by Mr.Jacques Lecoq from French to Chinese, published by Laurel Publishing Company, Taiwan in 2005.
She is also professor of the theatre department in National Taiwan University of Arts and of Taipei National University of Art.
Educational background :
1997 Graduated from National Taiwan University in Economy.
1998 Graduated with a « Master of Art » degree from Educational Theatre program in New York University.
2001 Gradualted from the International School of Theatre Jaques Lecoq after completed 2 years of study.
Directory works :
2009 « Underground », National Experimental Theatre, Taipei
2008 « Mamou and the fairies ». Taipei Children’s Theatre.
2007 « Dinner for one », Avant Garde Theatre of Guling St., Taipei
2006 “e4kids », Taiwan Public Television Service
2006 « Love story of a clown », Ringside Restaurant, Taipei
2005 « Folle Parade », Esplanade du Theatre National, Taipei
2005 « Alone in the world’s room », National Experimental Theatre, Taipei
2004 « A Clown’s Poetry », The Red Theatre, Taipei.
Supported by
Pentas Project initiated Pentas Emerging Theatre Artists Program in April 2010. Looking at the development of Chinese theatre in Malaysia, there is rarely emergence of new director besides drama competitions in secondary school. Although in these 2 years, graduates from theatre department had gradually returned to Malaysia, but they do not have the opportunity to show what they’d learn. The development of a city and country relies also on the building of arts and culture. Member of Pentas Project are mostly above 30s, but Pentas Project would be delighted to see new talents and the wild imaginations and creativity of younger generation. Hence, Pentas Project initiated the Pentas Emerging Artists Program and encouraged younger generations to submit their performance proposal to Pentas Project. Pentas Project hopes to hold on our belief, that is to provide an open platform for artists. For successful applicants, Pentas Project not only will provide the director a grant to work on the performance, but will also provide technical consultation and support as well as handling all the administrative and publicity works of the project. The 2010 Pentas Emerging Theatre Artists Program selected Lee Yee Han’s Blind Love, and had successfully run 4 shows in Pentas Studio. This year, Pentas Project kicked off the Pentas Emerging Theatre Artists Program for the second time, hopefully to attract more young talents to show their creativity.
Pentas Project initiated Pentas Emerging Theatre Artists Program in April 2010. Looking at the development of Chinese theatre in Malaysia, there is rarely emergence of new director besides drama competitions in secondary school. Although in these 2 years, graduates from theatre department had gradually returned to Malaysia, but they do not have the opportunity to show what they’d learn. The development of a city and country relies also on the building of arts and culture. Member of Pentas Project are mostly above 30s, but Pentas Project would be delighted to see new talents and the wild imaginations and creativity of younger generation. Hence, Pentas Project initiated the Pentas Emerging Artists Program and encouraged younger generations to submit their performance proposal to Pentas Project. Pentas Project hopes to hold on our belief, that is to provide an open platform for artists. For successful applicants, Pentas Project not only will provide the director a grant to work on the performance, but will also provide technical consultation and support as well as handling all the administrative and publicity works of the project. The 2010 Pentas Emerging Theatre Artists Program selected Lee Yee Han’s Blind Love, and had successfully run 4 shows in Pentas Studio. This year, Pentas Project kicked off the Pentas Emerging Theatre Artists Program for the second time, hopefully to attract more young talents to show their creativity.
