| Practising Tradition in Performer Training: a Critical Approach |
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Session of International Platform for Performer Training Wrocław 2016
Thu–Sun 28–31 January 2016 Na Grobli Studio, ul. Na Grobli 30/32 Registration for non-participant attendees is now closed.
Idea The aim of this initiative is to establish an international network where performer trainers and researchers of performer training from various fields of performance, as well as from different countries and institutions of higher education in arts, could negotiate and share their pedagogical practices in a confidential and supportive setting:
Motivation. The basic ethos behind the platform is that the performer training exercised in higher education must take the responsibility of the development of the performing arts also in the future. This is possible only in so far as that pedagogy itself is put under critical examination, i.e. if it is based on shared practices, discussions and research. The autonomy of artist pedagogy cannot be taken for granted but, instead, it is always a position which has to be conquered; dependent on our common effort to create space and opportunities for free reflection and dialogue. On the level of bodily practices, however, this sharing can never be too easy. It is difficult not only due to the lack of common vocabulary and discourse, but also because global, transnational political decisions seem to foster institutional and individual traditions and identities, as well as the growing concurrence between them. Hence: How should performer training react to the economic, political and ideological pressures of our time? In which ways could today’s performer trainers carry this consciousness, and the corresponding feeling of responsibility together? An increasing worry about our common future might serve as a basis for a new kind of dialogue between practitioners, pedagogues and researchers. The suggested platform is a simple, efficient and inspiring way for people engaged in performer training to develop their professional skills and mutual understanding. It offers a new type of international collaboration and provides significant pedagogical, moral, and even political support.
Modes of collaboration. The leading idea of the collaboration is to support one another and gather up know-how and strengths. As one can understand, some institutions have longer traditions, others more resources. Some are specialised in research, others in art pedagogy. In some places, performer training may involve an important social dimension, etc. From the point of view of the platform, each country, institution or department has its own particular strengths that are beneficial and interesting for the others. The collaboration take place in the form of 1–3-day-long gatherings held on regular basis at the respective institutions. The hosting institution provides the necessary venues and infrastructure and is in charge of the programme and other practical details. Each meeting has a specific theme and contains 2–4 workshops and several discussions. The emphasis is on practice and critical discussion. The meetings circle from institution to institution. They serve as a rich ground for developing trainer exchange and/or other, more focused collaboration between different institutions.
Practising Tradition in Performer Training: a Critical Approach During the Wrocław session of IPPT we would like to put into critical consideration the topic of tradition. It often works as a mandate of trust for rising artists but at the same time it is used as a means to discredit others. Whether it is considered a valuable heritage or an old-fashioned mannerism it can serve as an easy label both in performing and teaching. We are guided by the conviction that we train not to preserve tradition, but rather in order to create valuable art and educate outstanding performers. During the Wrocław meeting we will discuss real current situations and modes of operation in training and transmitting (or maybe overcoming) tradition.
The Wrocław meeting of IPPT will focus on three main thematic fields: 1. Studio and Academy – different models of training and transmission of tradition. What are their strengths, limitations and consequences of the way they work? What are the possible and implemented ways of cooperation or combining these models? Most theatrical traditions bring more than a training technique, they are a coherent theatre philosophy and/or work ethos. Is it always possible and desirable to incorporate them in the university teaching? Is traditionalism a positive or negative value in the context of contemporary teaching and performing? 2. Tradition – strategies of use. We operate in so called ‘liquid culture’. The most common pattern of use of tradition in contemporary European theatre and performer training is a composition of elements taken form different sources. What are the reasons behind specific choices and, in consequence, is there such a thing as an individual tradition in training? What are challenges posed by free and open access to knowledge and do they push to find new ways and methods for transmitting tradition in performer training? What are good and bad practices and their outcomes? What is the consequence of eclecticism in teaching? How are traditions processed and modified to serve the needs of next generations of performers? When and how is tradition born? What is the fate of broken tradition? 3. Political aspect of tradition. Who and how determines the canon? Eugenio Barba talks about his artistic family tree, placing himself as the grandson of Meyerhold – and Grotowski’s younger brother. What is the meaning of tradition or invented tradition in the field of performer training and what is the reason to deploy it? Is it an element of prestige, or actual knowledge? And then – whose tradition (if there are grandparents and brothers, what happened to grandmothers and sisters)? This also brings forth the issue of ethnic traditions and ‘source’ techniques. Are they useful in the context of European theatre pedagogy? How do we guarantee fairness in choosing which tradition should have its place in school curriculum?
More information: performertrainingplatform.wordpress.com/upcoming-events/wroclaw-2016
Programme
Thu 28 January 2016
19:00 Registration The Grotowski Institute, Cinema Room, Przejście Żelaźnicze
20:00 Welcome Dinner Spiż Brewery, Rynek-Ratusz 2
Fri 29 January 2016
Na Grobli Studio, ul. Na Grobli 30/32 8:00 Registration 8:45 Małgorzata Jabłońska (The Grotowski Institute) ‘Welcome on behalf of The Grotowski Institute’ 9:00 Phillip Zarrilli (The Llanarth Group) ‘Re-framing ‘Traditional’ Modes of Embodied Knowledge and Learning as a Form of Perceptual Enquiry and Apprenticeship’ 10:00 Rebeca Loukes (University of Exeter) ‘“Embodied Translation”: Tradition in the Training Legacy of Elsa Gindler’ 10:20 Ben Spatz (University of Huddersfield) ‘Epistemological Perspectives on Performer Training: Tradition and Innovation’
10:50 Coffee
11:20 Shane Shambhu (Altered Skin Theatre Company) & Mark James Hamilton (Regent’s University London) ‘Navanatya: Using Bharatanatyam to Create New Drama’ 12:05 Margaret Coldiron (East 15 Acting School, University of Essex) ‘“World Performance? What’s THAT?” The Ethics and Aesthetics of Balancing Traditions from East and West in Contemporary European Performer Training’
12:30 Discussion
13:30 Lunch break
14:30 Jarosław Fret (The Grotowski Institute) ’BodyConstitution: Source Techniques in Contemporary Training Practice’ 15:00 Przemysław Błaszczak & Jakub Gontarski, Two Paths Studio (The Grotowski Institute) & Anna Duda (University of Silesia) ‘Two Paths Studio: Training and Transmitting Martial Arts Traditions’
16:00 Coffee
16:30 Niamh Dowling (Rose Bruford College) ‘Grotowski’s Artistic Family: Honouring the Past with the Emergent Future’ 17:15 Discussion
19:00 TAZM Silence of Light Performance by STUDIO || ROSA Laboratory Theatre Space, Przejście Żelaźnicze
19:30 Caesarean Section: Essays on Suicide Performance by Teatr ZAR Dworzec Świebodzki, pl. Orląt Lwowskich 20b
Sat 30 January 2016 Na Grobli Studio, ul. Na Grobli 30/32
9:00 Paul Allain (University of Kent) ‘Physical Actor Training – an A–Z’
9:20 Mark Evans (Coventry University) & Simon Murray (University of Glasgow) ‘The Political Legacies of Jacques Lecoq in Twenty Movements’
10:20 Coffee
10:50 Matej Matejka (Studio Matejka/The Grotowski Institute) ’Searching for Tradition within You’ 11:30 Anna Zubrzycki (Anna Zubrzycki Studio) ‘Voicing Practice: Listening Deeply’
12:15 Discussion 13:30 Lunch break
14:30 Tomasz Rodowicz (CHOREA Theatre, Łódź Film School) ‘New Actor Training versus Traditional Higher Education System in Poland – Where Does the Problem Lie?’ 14:50 Pauliina Hulkko (University of Tampere) & Esa Kirkkopelto (University of Arts Helsinki) & Hannu Tuisku (University of Arts Helsinki) ‘Destabilizations and Transitions in the Finnish Psychophysical Actor Training’
15:50 Coffee
16:20 Ramiro Silveira (East 15 Acting School, University of Essex) ‘Theatre Playground: Playfulness Possibilities for Connecting Traditions’
16:50 Discussion
19:00 TAZM Silence of Light Performance by STUDIO || ROSA Laboratory Theatre Space, Przejście Żelaźnicze
19:30 Caesarean Section: Essays on Suicide Performance by Teatr ZAR Dworzec Świebodzki, pl. Orląt Lwowskich 20b Sun 31 January 2016 Na Grobli Studio, ul. Na Grobli 30/32
9:00 Richard Gough (Centre for Performance Research) ‘From the Beginner’s Mind to the Terrorist’s Body: (Re)Considering the Militant in Actor Training’
9:30 Discussion
10:30 Coffee
11:00 Questions from Wrocław Theatre Academy
12:00 General Meeting: Future of IPPT
Board of IPPT Wrocław 2016 Małgorzata Jabłońska (Research Projects Coordinator of the Grotowski Institute) Prof Richard Gough (Artistic Director of the Centre for Performance Research) Prof Phillip Zarrilli (Artistic Director of the Llanarth Group)
Conference Secretary: Anna Duda (Two Paths Studio, Research Assistant in Chair of Theatre and Drama, University of Silesia)
Consultations: Prof Grzegorz Ziółkowski (Chair of Drama, Theatre and Performance, Adam Mickiewicz Univesity)
Organizer: The Grotowski Institute
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