Agenda
Événements & colloques
Three-Day Bernard-Marie Koltès Workshop at Emory University

Three-Day Bernard-Marie Koltès Workshop at Emory University

Publié le par Matthieu Vernet (Source : Amin Erfani)

We seek between8 and 16 participants for a three-day theater workshop with a visiting Frenchstage director around texts by Bernard-Marie Koltès. Details below. Pleasecontact Amin Erfani for questions and enrollment at aerfani@emory.edu.

As part of theUS Koltès Project in Atlanta, hosted by the Department of French and Italian atEmory University, renowned French stage director Philip Boulay will be oncampus from Feb. 15 to Feb. 25, 2011, for a series of events around Koltès. Hewill work with actors and students on the stage adaptation of two Bernard MarieKoltès plays translated in English by scholar Amin Erfani, with actor andfounder of the US Koltès Project Isma`il Ibn Conner from 7 Stages Theatre.

As part of thisresidency, Philip Boulay will conduct a group theater workshop, around thenotion of the “Chorus” in modern theater. This workshop is open to students,faculty, and artists wishing to work on stage to understand the fundamentals oftheater from a French perspective. No acting experience required. The workshopis open to the general public, and will take place from Monday Feb. 21through Wednesday Feb. 23, 12pm-3pm, in the Harland Cinema, DUC, at EmoryUniversity.

Philip Boulay:“We will work on the concept of ‘balance' on stage. This concept belongs to thefundamental rules of Tragedy, yet is still at work in the contemporary theaterof Bernard-Marie Koltès. In studying the effectiveness of this concept, we willidentify and analyze what are the functions of a Protagonist, a leader of theChorus, an entire body of the Chorus, and a Messenger, all of which constitutethe formal elements necessary for the Action to take place. This practice helpsus determine the effectiveness of the dramatic act, which is both simple andcomplex. Participants (the actors) and those who are watching (spectatorsand/or observers) observe dozens of rules working simultaneously on the stage.These rules are part of a theatrical ‘tradition' whose mechanisms are in factnot archaic at all, but still very much anchored in contemporary theater. Foran actor or a director, these practices address such necessary questions as thebirth of speech, the effectiveness of the gaze, and the function of the body.”