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Movimento Forza9

movimento forza 9 per il teatro
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00100
IT

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18

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Association “Movimento Forza 9 per il teatro” was founded in 1996 with the aim of promoting theater activities, stimulating the search for new forms of expression. Since its establishment, the Association takes the road of experimentation found in the Performance-text as the appropriate expression to its artistic and communication needs. PERFORMANCE-TEXT is the show represented as unique and unrepeatable event. The definition of performance-text or 'text of the show', was coined by Richard Schechner, a teacher at the Academy of Dramatic Arts in New York and member of the American avant-garde theater: this term is referred to the event of the play involving actors and audience and includes the actions represented, the reactions of the audience and all sorts of interaction between stage and audience. Unlike the dramatic text written, which can be read and disseminated regardless of the spectacle, performance cannot be transmitted or reproduced. It is a unique event that occurs only once; even video and sound recording can’t return it faithfully. Recording, in fact, cannot grasp the simultaneity of the actions that occur during the show and in any case the point of view of the machine is unique, and therefore may correspond at most to that of a single viewer. Performance text, however, is everything that happens during the show, including the eyes and emotions of all simultaneous viewers. The concept of performance makes immediately obvious the difference between the traditional way of seeing the theater and the new course of experimental theater opened in the sixties. The very notion of drama has changed: it no longer includes only those actions provided for the written text, but all the events of the theatrical moment: then, in addition to the actors' performances, the play of lights, the music, the presence of the spectators. In fact all these elements simultaneously, concerted assembly, to create the show, or performance. Our shows can go on stage at any place and at any time or for any period of time. They can be any situation that involves four basic elements: time, space, the artist's body and the relationship between artist and audience; the emotional current that is created between artists on stage and the audience is fundamental. One great emotional wave that binds together the two elements of the show and the stage to the audience and vice versa stimulates and creates new different emotions each time according to the time, the audience and at the same state of mind of the artist. It Is not improvisation, but a continuous work on interiority and own emotions that allows those who are on the scene to involve those sitting in the hall of the theatre accompanying the emotional world and exchanging their strongest feelings in exchange for receiving stimuli of creativity. All this within a plot in the preparation of the show, provides an intensive training that links the experiences of actors and director / author and is told to the public through the lights, the music and everything that contributes to making the show a unique experience ever new in itself. Schechner path is the path of the theater of the last twenty years; to follow it, it would mean to reconstruct history of ideologies and poetic, aesthetic and practical. Schematically we summarize his thought: - Theater in its historical west modern-form is a category that is insufficient to understand the different performing activities; - The expansion of the category "theater" requires the identification of a theory that takes into account the meaning and nature of the transformations. Transformations that, according to Schechner, however, show a link between the contemporary performing activities and those of non-Western tribal societies along an axis in time and space. The ritual phenomenon is offered as a model, because: - discounting of mythical or real past events but distant in time and space and in the time they are replicated; - necessary and socially functional: its occurrence related to special occasions and set of social life; - the presence of established and well-known rules within the group, which ensures and guarantees the performance and the participation; - its manifestation as an event, process, something that happens, unique and unrepeatable. These featers of the rite are the same on which Schechner bases his idea of theater. The theatrical event makes its specificity performing activities as actualize some of the functions proper of the rite, it effectively puts in place as a manifestation of post-industrial society and post-modern culture. The long analysis of theater as ritual never abandons the original radical instance: to use theater to operate transformations in people. The metaphor of the theater - ritualized and recovered behavior - is the basic metaphor in a context theater = action = transport / transformation [. . .] The theater is now everywhere: in social drama, in personal experiences, in public exhibitions, in political and economic actions, art. To retrieve a past behavior means treating a part of living, and these behavior sequences reassemble and rebuild regardless of the cause-effect relationships that produced them. The actions that represent a behavior, although made and used to create a production process - the performance – they are’nt processes themselves, but material elements. The recovery of past behavior is found in all types of performance, from the rites of initiation to the social dramas, from psychoanalysis to psychodrama. The restoration work is carried out during the tests and the training; recovered behavior is symbolic and reflective, and theater expresses the fixate of social, religious, therapeutic, educational and aesthetic processes; performance means “never for the first time, but for the second and the nth time”. Reflective means to see itself in itself and in another. In subjective terms, retrieve a behavior means that << I act as if I were another, but this can also be another me in another and different existential condition>> The training required to become actors involves storing a score of gestures and sounds, patterns and movements, process; Schechner considers this universal, used for performing any activity, from Broadway to experimental theater, to Balinese trance-drama. Everywhere a “other” behavior is transformed in “own”, and parts of it from which they were alienated (and can be either self private or social) are replenished and displayed publicly. The process has two parts and a conclusion: first there is the disintegration, which overcomes the resistance of the performer, so as to make him opened and vulnerable; then there is the construction, in which the fragments of behavior, first short, then longer and longer, are in addition to what the performer is able to do; eventually it requires an audience in front of which, or in collaboration with which, the new behavior can be represented. In theater, then, the performer causes (or is caused by) existential attacks / recoveries, that most people avoid or undergoes only when they are forced. But the pleasure that results is due to the fact that the capacity learned to live an action does not lead to necessarily endure the consequences. The preparation phase-test is intended to make the performer a sort of “tabula rasa”, to snatch his/her daily identity. Then, the performer pulls out himself, or is "filled" with a character, or a particular aspect of his being. The preparation passes through three stages that coincide with the ritual process: - Reduction or separation or tearing of the self; - Initiation or revelation or discovery of what is new in me; - Restoration or construction of major fragments of behavior, longer and longer, do something for the public: Prepare to fall within the social world, but with a new and different ego. The test is, however, totally different from the performance: the first is based on dynamic, as if the tears that an actor must pay, initially, are not true, you need to retrieve the memory an emotional situation that arouses the feelings that lead to crying, and which are not necessarily the same as the character to play. But during the performance, the “as if” becomes “is”, real, and enters into history and certain practices, such as public reviews testify to the passage from the performance to tests.

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