.png)
In this intensive workshop, we will share a methodology of exploration, understanding and scenic intervention of space and daily movement. Through this method we propose participants a platform for the creation of stage pieces based on the interaction of space and movement (bodily and material).
We will work some scenic composition strategies through: analysis of quotidien spaces, observation frame and discursive complexity of non conventional scenic spaces; we will approach space intervention with strategies of traditional movements and of course, non traditional.
We will integrate both the space-kinetic analysis and the intervention strategies through a model of temporal, visual and sound framing defined by the scenic creator.
As an extra in this edition: At the end of the workshop, participants will have developed a basic scenic proposal for its presentation in the weeks after the workshop, during the Sätiros Festival Georgia-Mexico 2022; with the support of @mudamuseo and @inverosimilrevista.
Directed to
Scenic creators, dancers, actors, performers (in training or with experience)
Methodology
Simultaneously face-to-face and remote.
The workshop will take place in Mexico City, Mexico and in Tbilisi, Georgia.
There will be a workshop facilitator in both locations, and in some sessions there will be the possibility of connecting both sessions (in both countries) via online.
The sessions will take place directly at the spaces chosen by the participants.
5 sessions in total with a duration of 2 hours each.
START
Saturday, May 14th 2022
1st session meeting place
CDMX: Tamayo Museum
Tbilisi: Vasil Barnovi Bridge
SCHEDULE
9 am (CDMX)
7 pm (Tbilisi)
COST
1,000 mexican pesos
50 USD
160 GEL
MAX QUOTA
10 participants
(5 in each city)
Sessions
01
The spectator is the key. Basic experience of the spectator.
We will explore the frame notion and their diverse implications in the scenic creation. It is ESSENTIAL to attend the session with the tracks requested in the initial playlist of the workshop and personal headphones.
03
Movement and quotidianitat.
How do we intervene in an intervened space? In reality it is a succession of interventions in a space, the movement offers us a chance of intervention, more than lightning or sound, or stage. It is a body - space relation.
05
Assembly.
Until now we have all the elements ready, but there are multiple possibilities of assembling them, of repeating them, of creating the scene in the spaces.
02
The space, frame and the quotidien concept.
We will explore the places chosen by the participants and their scenic potential, entrances, exits, frames, spectator movement, technical needs. Also, we will include the quotidien concept and its relation with the movement of space.
04
Sonority and narration.
The observation and plasticity of moving images creates a basic narrative effect and it is sufficient to the length of these pieces (no longer than 7 minutes, with a minimum of 2.5 minutes). Nevertheless, sound framing offers multiple possibilities of narration, it becomes another character, an element to intervene the space beyond movement and some scenic elements.
Imparted by
Liliana Bravo
Independent choreographer based in Mexico City.
Her creative practice explores the dialogue between the body, conceptual art, and spatial composition.
She's interested in collaborative interdisciplinary projects, focused on the process of how the choreography can question the usual ways of presentation, observation and production within performing arts.
Fernando Guerrero
Collaborates as scenic creator since 2010, making instalations, contemporary ballet, and moving pictures.
Works as a teacher and helps with creative processes in UNAM since 2007.