A work and development of the qualities of interpretation situated between what we are and the "character", starting from the hypothesis that one can be neither one nor the other nor one and the other at one and the same time.
The characters form a reality, the actors, another; what lies between the two forms, what I call the scenic alter ego or an actor or actress’s “way of acting”. In the end, this is what the public comes to see in the theatre: it’s not Hamlet who fascinates us but the actor playing Hamlet.
This ambiguity means the audience can choose what they are seeing. At the same time, a play is constructed at several levels:
•the appearances of things.
•what things really are.
•what the performance is, the real present; and how people are provoked from the present of the play or live with the public.
Therefore, in this workshop taught by L’Alakran you will work to establish a functional relationship between reflection (what one is), action (what one does), and communication (what one intends), in order to find or create one’s scenic alter ego and to define oneself between oneself and what one represents.
This shall all be undertaken on the basis of a physical and mental work and an artistic reflection at various levels, such as, for example:
•The secret and the ambiguous: variations and the measure of what we show and what we hide.
•The anonymous presence. Our image in the collective space. The intimate and the universal.
•Self-portrait and self-fiction.
•The relationship with the public, with looking and dialogue, the relationship with the reality, the idea of theatre in the theatre, the public space and the private space.
•A sense of humour as empathy, as a vector of transmission.
Registration with participant selection. For more information: firstname.lastname@example.org (subject: L’Alakran Workshop)
The L’Alakran Company, founded in Geneva by the Basque director, actor, author, and stage designer, Oscar Gómez Mata, arouses radical emotions on the stage, creating spectacles that are playful, philosophical and always poetic. The political context, understood as a critical attitude, is inherent in his artistic project; to ask himself about the relationship between the individual and the collective without wanting to come up with answers or to fix the word into an ideology Since its creation in 1997, this company has shaken and provoked the public in order to arouse it and to tear it away from the loop of routine.
With a creative and expressive stamp that is entirely their own, whoever sees L’Alakran for the first time will never forget the experience. Rejecting tradition focused on the primacy of text, the company makes the text its own in order to pass it through the filter of their sensibilities and the context in which they develop the performances, turning it into a springboard, as they do with the other forms of scenic expression.
According to philosopher and theatre critic Bruno Tackels: “L’Alakran’s performances transcend the boundaries of theatre and turn it into a profoundly free space, in which everything is possible. The stage becomes a nursery where the diverse ways in which the contemporary world affect us are dissected. A laboratory of our small pathologies of everyday life. Such as the capitalism that has infiltrated our veins and is slowly but surely dehumanizing us. In search of the antidote, desperately. If you have a clue, write to L’Alakran”.
To be confirmed