This is the second installment in a serialized account of a First Year BA Acting student at the Royal Conservatoire of Scotland (RCS). It is a first-hand account of the experience of embarking on the rigorous and holistic training offered at that institution and intends to provoke responses from students who undergo such training, or those who teach them.
The End of the First Term
As I come to the end of my first major ‘chunk’ of time at the RCS, ready to throw myself into the challenges and renewed excitement that 2017 at the conservatoire will doubtless bring, I find myself reflecting on what I have learned, and how I’ve found the whole drama school experience so far. The question everyone has asked me since I’ve been back in my Yorkshire hometown for the Christmas holidays has been ‘Is it what you thought it would be?’ The answer to this is not as simple as ‘yes’ or ‘no’. Continue reading →
‘This notion that the leader needs to be ‘in charge’ and ‘know all the answers’ is both dated and destructive… Fear leads to risk aversion. Risk aversion kills innovation.’ Peter Sheahan in Brené Brown’s Daring Greatly.
In my first few weeks as a teacher in a private English language school in Italy, the Assistant Director of Studies ushered the first-timers into an empty classroom, and gave us some advice.
‘Never, ever respond to a question from your students with the words ‘I don’t know.’ Never tell them you don’t know something, and never tell them that you’re new to this. I know. It’s not fair. Everyone has to start somewhere right? But if they doubt their teacher, then they doubt the school. In their eyes at least, you must know everything.’
At the time, I took this as sound advice from a far more senior and experienced colleague who wanted the best for both us and the school. I mean…it makes sense, right? No student wants their teacher standing in front of them lamely doing a goldfish impression when there’s an important exam looming. What I see now, though, is that this ‘advice’ potentially killed a lot of the creativity and spontaneity I may have started to cultivate in my early teaching career, and instead cultivated an aversion to risk in my teaching practice that would prove very difficult to shake off. I quickly gained a reputation for my results-focused meticulousness and for always having a ready explanation. Continue reading →
This is the first installment in a serialized account of a First Year BA Acting student at the Royal Conservatoire of Scotland. It is a first-hand account of the experience of embarking on the rigorous and holistic training offered at that institution and intends to provoke responses from students who undergo such training, or those who teach them.
The First Lesson – 26/09/2016
My introduction to the RCS in the first ‘official’ week of my training has given me a fantastic idea of the kind of actors this institution hopes we will grow to be. I have already had the pleasure of the revered ‘freshers-week’ meeting and greeting the wonderful people with who I will share the next three years of my life. Continue reading →
Inspired by Jerzy Grotowski but seeking his own pathway as a young theatre director working in Minneapolis, over forty years ago Phillip Zarrilli began a life-long project of exploring an alternative approach to the pre-performative training and preparation of the actor/performer using the techniques and underlying principles of Asian martial arts (taiqiquan/kalarippayattu) and yoga which would move actor training beyond Stanislavsky.
Over the years, Zarrilli developed a rigorous, in-depth, immersive process of training and preparing the actor’s bodymind for performance through the in-depth use of these traditional exercises—applied specifically to acting/performance problems. Continue reading →
In January 2017 The Wardrobe Ensemble began work on our fourth full-scale ensemble show, Education, Education, Education. The company occupy a fairly unique space in the UK’s contemporary theatre landscape due to our size (nine-strong, plus a producer and a large pool of associate artists) and collaborative way of working – we have “directors” for project, but the “artistic direction” of the company is shared by all of us. This stage of our creation process, with all or most members of the company Researching and Developing (R&Ding) a large-scale show, is one that comes around roughly every two years. Continue reading →
Judita Vivas is a performer, director and theatre-maker, originally from Lithuania, who recently completed her PhD at Kent University. She has attended a number of residential workshops with DUENDE and recently created her first solo show – ‘7 Petticoats’, a poetic response to the life and legacy of Mary Wollstonecraft – in collaboration with JohnBritton.
During a second encounter with John Britton and Duende in 2014 at AuBrana
Cultural Centre in Southern France, I made one of the most significant discoveries in
my professional theatre life. It is a very simple discovery, yet it has had a profound
impact on how I view myself as an artist and how I view my work.
I discovered the significance of giving yourself permission to do things…Continue reading →
Mei JiaoYin is a PhD candidate in “Theory and Research in Education”, at The University of Roma Tre, Italy. Her first 20 years of life were in Hangzhou, China, where she studied “Art Education” in Zhejiang Normal University. For the last ten years she has been living in Italy and teaching creativity dance. Mei recently attended one of DUENDE’s training & performance residencies and is now at The DUENDE School for just the first two weeks of the course, before returning to Italy to complete her PhD.
I started to observe my state of body, emotion and movement, without judgment, just simply observe all that is there: fear, qualities and aliveness.
I accept everything that appears though observation, just like an adventure, I don’t know where it will take me, but every moment is so exciting to explore myself. For example, these days in the Ball Game, I notice my body when I react in the moment of catching the ball: breathing becomes rapid, toes grip the earth, sometimes I try to beat the ball. By simply observing the body I can connect with my fear and it is interesting to play with fear. When is the next ball coming? I just focus on my breathing, and a new feeling comes, that moment is so wonderful! This experience gives me the opportunity to discover myself.
Hannah Waters is a UK-based performer. She studied both BA and MA (Physical Acting) at The University of Kent. Her Masters dissertation explored ‘Applying the systematic principles present in constructivist artwork to a method of physical theatre composition’. As part of her time at Kent Hannah also studied at the University of California.
I came to the DUENDE School of Ensemble Physical Theatre this autumn dragging all the traits of a life spent in formal education in the UK with me, traits that I am beginning to address, unpick and challenge as I approach my third week of training at DUENDE.
This is my first foray into vocational training after four years at university: I previously undertook a BA in Drama and Theatre Studies and an MA in Physical Acting, the latter of which I completed a matter of weeks before I made the journey to Athens to begin my work. And so I have made the leap from the world of academia to another, very different world, where my perceptions of myself and my work have suddenly been challenged in ways they never have been before.
The DUENDE School of Ensemble Physical Theatre is meeting in Athens, Greece, through the autumn. Each week a contributor to the school will write a short reflection for this blog.
This week’s post is written by Manjari Kaul. Manjari studied Arts and Aesthetics at Jawaharlal Nehru University, Delhi before becoming a Primary School Teacher, Performer and Director.
Manjari attended The DUENDE School in 2015 and has returned in 2016, at the School’s invitation, to explore in more detail the pedagogy of the work – with a view to running DUENDE training sessions in India and perhaps organising an iteration of The DUENDE School in India in the future.
Manjari is one of DUENDE’s Associate Artists.
This post is an attempt to understand how my training in Ensemble Physical Theatre might be used as a tool by school teachers in the classroom. I will explore the possibility of viewing a Primary/Middle School classroom as akin to an ensemble that must be alive in the here and now, responding to ever evolving dynamics.
I set up DUENDE in 2010 – intending to nurture a loose collective of artists who shared a core training (Self-With-Others) and yet brought distinct and individual skills to the company. From the start DUENDE was committed to international and intercultural exploration and to a core belief in the idea that principles of ensemble lie at the heart both of live performance and of the pedagogy through which the skills of performance might be passed from generation to generation. DUENDE is committed to honouring and extending lineages across generations and collaborations across borders.
We’re pleased to be able to link our community to the National Centre for Circus Arts. Formerly known as the Circus Space, the National Centre for Circus Arts is located in London and one of Europe’s leading providers of circus education. Their Acrobatic Symposium Video Gallery can be accessed online here: