Workshop on Suzuki Methos of Actor Training and Viewpoints technique
During the three days long workshop the participants will be able to
study and practice the basics of the Suzuki Method of Actor Training and
the Viewpoints technique for 3 hours every day. While training with the
Suzuki Method we aim to develop and practice an intense stage presence,
readiness and expressivity of the performer, during the Viewpoints
technique sessions the trainees will find some practical tools to
support their free improvisation. Both of the methods seek to find an
answer for the following question: which tools would be the best for the
actors to train themselves in a daily routine?
Tadashi Suzuki started to develop his actor training method during the ’70s, which became well known around the globe since then. The world-famous Japanese theatre director and acting pedagogue, aiming to coach the actors to an intense stage readiness, resorted the elements of the medieval Japanese performing arts – Noh and Kabuki –, mixed them with movements from other cultures and reshaped the whole system taking in consideration the needs of the contemporary theatre.
The Viewpoints technique was originated by Mary Overlie. Overlie, as an American postmodern dancer/choreographer started to shape her deconstructionist and minimalist improvisation practice into a technique (Six Viewpoints) while she was teaching at the Experimental Wing of the New York University. The technique was developed and extended by theatre directors Anne Bogart and Tina Landau (Nine Viewpoints). The basis of the technique is a non-hierarchical point of view, and the ability to make a vivid conversation with the elements of time and space through playful theatrical research.
The Suzuki Method and the Viewpoints technique became complementary training techniques to each other during the practice of the SITI Company.
What is the ideal level of physical, mental and emotional tension in a performing situation? How is it possible to gain expressivity in physical stillness? How can the actor find freedom inside strict boundaries or comforting bounds during free stage improvisation? What kind of different qualities can the intense stage presence have in a codified or in a free stage system? We invite stage practitioners to join us in a common research on the topic above.
Coach: Gábor Viktor Kozma
06. 14. 2019., 10h-13h and 15h-18h
06. 15. 2019., 10h-13h and 15h-18h
06. 16. 2019., 10h-13h and 15h-18h
Application fee: 75 euro
Keleti István Művészeti Szakközépiskola, Hungary, 1106 Budapest, Fehér út 10,
Application: To apply, please send us a short letter of interest and some information about your precious theatre/training experience to the firstname.lastname@example.org adress. Professional background is not required for the participation.
– Bestiarium Budapestiensis 2019 – Actor training with masks – 11-12 May, coach: Balázs Simon
– Workshop on Chekhov-technique – 21-23 June, coach: Gretchen Egolf
– Music and Physicality – Actor training workshop based on the method of W. Staniewski – 5-7 July, coach: Esztella Levko
The workshops are supported by Nemzeti Kulturális Alap.
Gábor Viktor Kozma – Freelance Actor, Acting Coach, Doctorate student
Gábor graduated at the University of Arts in Tîrgu-Mureș, Romania. Recently he is researching psychophysical actor training methods as a part of his doctorate studies there. He is a member of the International Suzuki Company of Toga. He has the scholarship position in the Scholarship Program 2018-2021 of the Hungarian Academy of Arts. From 2019 Gábor is teaching as an assistant teacher at the University of Babes-Bolyai at Cluj-Napoca, Romania at the Theatre and Film Department. For further information please feel free to visit his website: www.gaborviktorkozma.com