Hello friends. Our friends at Volcano is having their annual, incredible conservatory starting just after the festival. The following is some information on this rare opportunity.
The Volcano Convervatory is happing soon.
(from Ross Manson, AD of Volcano)
There are places left in all eight classes at the moment. I HEARTILY recommend this year’s conservatory – it is a very special one. I believe that our theatre and dance practitioners need to be aware of these options for their creative processes. We all stand to gain by engaging with styles / systems of thought that can open an audience (and a performer) in new ways…
Suzuki Technique: Japanese physical theatre training, developed by Tadashi Suzuki. This training builds will, stamina and concentration through some intensely physical exercises. A tremendous training for precision and focus and a discipline that allows for powerful performance. This stuff is exhausting, demanding and THRILLING. Taught by Michael Greyeyes (aug 16-20).
Viewpoints: American Anne Bogart’s extrapolation of a system first made by NY dance guru Mary Overlie in the 70s. The Viewpoints are a way of dealing with time and space in performance that combines the physical and the thoughtful. A beautiful and satisfying training. In this worksho p – in addition to the 9 physical viewpoints – the 7 VOCAL viewpoints will be introduced FOR THE FIRST TIME in Volcano’s association with this training. Taught by Michael Greyeyes (aug 16-20).
Lecoq Red Nose Clown: Nothing trains a performer to be more open and vulne rable than clown work. And Lecoq’s training is among the best of all time. We are honoured to have a French master Lecoq teacher, Emmanuelle Delpech Ramey in Toronto to teach us to build exquisite performances from our own personal failures! NOT TO BE MISSED! (aug 26-29).
Chekhov Technique: Anton’s nephew Mikhail was THE actor of his generation in Russia – and part of Stanislavski’s company, The Moscow Art Theatre. Mikhail took Stanislavki’s system further – designing exercises to develop physical and imaginative intuition as a means to create character. I LOVE this training – the best comprehensive acting training there is, in my books. This is perfect coursework for directors and actors alike. AND – it is so beautifully designed, that it works well for novice and expert. Most of contemporary Russian theatre is built on this training. Taught by Cynthia Ashperger (aug 21-24).
ALSO ON THE BILL:
The Actor and The Ensemble: Mnouchkine Technique – A FIRST for the city. i’ve written about this already – but this is a thrilling, one-of-a-kind opportunity. I am taking this class. Taught by Mnouchkine company member, Jeremy James (aug 21-25).
Extended Vocal Technique – probably my favourite vocal training (and i have studied with Patsy Rodenburg, Cicely Berry and David Smukler). This training is especially good for freeing one’s voice of stress, and for increasing the range and suppleness of the voice. Taught by Katherine Duncanson – Volcano’s voice coach of choice (aug 26-28).
Choreographies of Contemplation – a ONE DAY masterclass (for those on a tight schedule) examining notions of time in performance, taught by American dance/theatre wizard, David Brick. perfect for anyone who wants to examine how to shape time and perception of time on stage (aug 29).
Spatial Touch/Fearless Dancing – a fascinating course that seeks to train a moving body to be wild with precision. A physical training for decisiveness, listening and play. Again – a David Brick specialty (aug 26-28).
There are discounts for AEA, CAEA, & CADA members, and for anyone who has ever taken a Volcano course. If you take a bunch of classes (6 or more) – you get 25% off.