Date(s) - 03/04/2020 - 05/04/2020
Categories No Categories
This conference Embodiment in Acting Practice at CISPA, Copenhagen in April has been postponed to 25th-27th September 2020 due to the risk that COVID-19 presents to the international community.
We sincerely hope that the international situation has recovered by September, as I’m sure everybody does, and we will continue to monitor to the situation.
If you have sent a proposal to present at this event or have planned to attend we hope that you are able to attend in September. If you have any questions about presenting please email firstname.lastname@example.org
The Labanarium, CISPA, MCF and everyone at The Makings of the Actor theatre practice centre wish everyone good health and to stay safe and well in these turbulent and surreal times.
Call for Papers, Teaching Demonstrations and Workshops
International Conference –
The Makings of the Actor: Embodiment in Acting Practice
Organised by Dr Kiki Selioni Post-doc Researcher Royal Central School of Speech and Drama (as part of her research Biophysical Acting), CISPA (Copenhagen International School of Performing Arts), Labanarium, and MCF (Michael Cacoyannis Foundation) and hosted by CISPA.
Conference Venue: CISPA – Copenhagen International School of Performing Arts, Glentevej 61, 2400 Copenhagen NV, Denmark
Following the successful conferences ( 2018 in Athens, in 2019 at Cispa Copenhagen, Berthelot Theatre Paris, MCF Athens, LMTA Vilnius), Post-doctoral Researcher Dr Kiki Selioni, Royal Central School of Speech and Drama, The Makings of the Actor, CISPA, Labanarium and MCF have taken the initiative to organize a second event in Copenhagen. The aim is to create a series of international events to meet colleagues, practitioners and researchers, to share experiences, knowledge and current research practices in the field of actor-training and performance practices. The final goal is to create an international network to exchange dialogues of the arising challenges of the 21st century academies, institutions, as well as the arts industry.
Prof. Vladimir Mirodan FRSA, Emeritus Professor of Theatre
Jake Harders, Royal Central School of Speech and Drama https://www.cssd.ac.uk/staff/jake-harders-ba-ma-mphil
Embodiment in Acting Practice
Acting is a living, breathing craft. No matter the technique, no matter the preparation, performance culminates in the act of presence before the audience. Whether considering an individual actor or the ensemble as a whole, the theatrical event ultimately revolves around the performative manifestation of lived experience: embodiment.
In the actor’s and actors’ bodies, in their mindbody presence as beings on a stage before an audience, all of the theatre-makers’ craft must find its home. Our bodies house the internal world being lived and experienced, our bodies shape and frame the external representation of that experience, and our bodies unite with all of the elements of the psyche to give form to impulse, voice to desire, and action to instinct. Thus it is this ongoing union of inner with outer, of self with the role, which can bring a theatrical moment to life: embodiment.
Lived experience, embodied experience, defines the substance with which we build a breathing, moving theatre. The mindbody experience, the Self and the Other, must all be united within ourselves the performers, so that the artistic and creative elements which inspire our theatre-making may take voice in their fullest form. Alive, active, interactive and impulsive, an embodied moment can shape the face of time as narrative comes into tangible existence.
What characteristics of this onstage embodiment are worth our creative attention? Which approaches, which trainings, which mindsets and which psychophysical practices can hone the embodied self, even the embodied whole and discovery of an embodied Other? How do actors, ensembles, directors and pedagogues relate to the many facets of embodiment? And which elements of embodiment are essential onstage, which preferential, and which beneficial or not?
With the task and challenge of psychophysical embodiment set before us, as part of any role, any performance, and any collaborative creation, how can we conceive of the many elements which define it, approaching our work with a deliberate ability to utilise embodiment to its fullest?
Call for Papers, Teaching Demonstrations and Performances 3-5 April
We welcome submissions from acting/voice/movement teachers, actor coaches, theatre practitioners, actors, directors, training practitioners, theatre researchers, practice and academic researchers within varying aspects of practice.
For papers please send your abstract of 200 words for your oral presentation (20 min) in a Word doc form, including title, institutional affiliation, your brief CV and email address. The paper presentations will be 20 min, followed by a 10 min discussion with the audience/participants. We accept submissions for online paper presentation.
Submissions of teaching demonstration must be in English and can be up to 4 pages (including references and figures) in a Word doc form, including title, institutional affiliation, your brief CV and email address. The first 2 pages are expected to describe your system. The third and fourth pages are expected to be used for images, references, and technical requirements. You should expect wireless network access. A number of 15-25 students will be provided for all accepted demonstrations. The Demonstration allows practitioners/researchers to demonstrate their works in teaching in a dedicated session of 60-70 min. they are followed by a 20 min discussion with the audience/participants.
Performances will take place in CISPA’s Black Box. Proposals must outline the planned work accurately in 2 pages in a Word doc form and must include title, brief CV, technical requirements, images and video. Performances running must be 20-90 min. and they are followed by a 20 min discussion with the audience/participants.
Please send your submission until 29th February to: email@example.com
Acceptance Notification: 5th March 2020
If an official invitation is required earlier for research funding purposes, please contact firstname.lastname@example.org and ensure that you submit your abstract as early as possible.
Submissions based on an innovative and tested system or approaches related to the conference’s areas of interest, (including but not limited to):
- physical manifestation of psychophysical processes
- body-based character development
- personalized character work
- embodiment and actor training
- embodiment and voice training
- ensemble connectivity through physical processes
- collective embodiment, the embodied Other
- presence in an embodiment perspective
- the performer’s psychophysical awareness
- internal/external ownership of a role
- physicalization of internal action
- psychophysical union of self with character
Paper presentations: 150€
Teaching demonstration 250 €
Attendants fees: 100€
Student & unwaged fees: 50 €
Workshops will be held on 3, 4 and 5 April
Friday 3 April:
18.00-20.00 Juliet Chambers-Coe Director of Labanarium; Laban tutor Drama Studio London; PhD researcher University of Surrey www.labanarium.com
Saturday 4 April:
12.00:15.00 Jake Harders BA, MA,MFA, Actor,Director,Diploma Manager Rpyal Central School of Speech and Darma
Sunday 5 April:
13.00-16.00 Olu Taiwo Senior Lecturer in Performing Arts University of Winchester.
17.00-.20.00 Kasper Ravnhøj Choreographer , Dancer
Registration fees for Participants: 200 € (Student & unwaged fees: 100€)
Attendants fees: 150 € (Student & unwaged fees: 75€)
Please send to: email@example.com