All sessions by Mico Pugliares:
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7 September - Wednesday
10:30 - 17:30
9 September - Friday
10:30 - 17:30
10 September - Saturday
10:30 - 17:30
My heart is bigger than my mouth!
Often we find ourselves witnessing scenes of theatrical improvisation lacking scenic awareness, as though the fact itself That they're taking life on a theatrical internships had little importance.
Is that my work of making the experience of "traditional" text based theater available to the improvised scenes. This workshop focuses on the importance of the character's intention and awareness, and on the concept that the text comes as a consequence. Improvisers should discover the text and don’t look for the words because it does not matter so much what you say as how you say it.
It's a workshop based on non-verbal communication, pauses and silences and pantomime. Which are paramount and indispensable to convey truth and credibility to a scene or a character. We will work on intentions before encountering words, on expressive silences and pauses as a basic part of acting, and on proxemics in general. In particular, we will focus on:
intention as the heart of the text's line
the silence as help to let grow up a scene
Dress code: comfortable
The truth of a character is one of the essential points to make an interesting, believable and coherent improvisation. Giving truth to a character is therefore a necessity and starting from this we makes achievable the mechanism of action and reaction that is one of the theoretical concepts of theatrical improvisation.
The workshop will focus on these concepts:
identification of the truth
“reading” the truth
sharing the truth
improvisation as a coherent dynamic of action and reaction
discovering elements to make a simple scene as interesting as possible
To achieve this we could understand what the character "wants", what is the state of mind, what is the “guide animal”, what is the intimate essence, what is the text, the language and the vocabulary, what are the known forms.
If the theater is artifice as some assert this does not mean that our characters should not be "real", on the contrary it is exactly the opposite. What we put on stage must be credible in order to be accepted and understood by the audience.
Specifically, in improv, we will try to show that we can give birth to characters starting from us and from what we are transmitting with the work and help of others, rather, with listening, availability and ability to say thank you.
A way to create a character by exploring own’s body
We will explore the physical path which leads to the identification of a character, and focus on how we can recognize its nature through the analysis of our body. “What is my body telling me? What do you its posture and position in the space suggest?”
We will work on a corporeal approach and on what my body is communicating to me, through a process of listening and through the perception of non-verbal signals. We will also reflect and explore how others see our non-verbal language.
What will we be doing? We will touch our own and each others’ hair. We will caress each others’ faces…We will touch and smell one another. We will experience how our physical inhibitions on stage can be identified, studied, overcome and transformed into theatrical instrument and we will do it through direct experiences.
We will work on the body and physical contact trying to make our limit our strong point. Our senses and our animal instinct will be at work, through contact and perception.
Dress code: comfortable.
Level: beginners and intermediate
Domenico (Mico) Pugliares was born in Sicily in 1967 but then moved to Milan in where he has lived for the last 25 years. As strange as it might seem, he holds a master's degree in Political Science. After dedicating many years to music (he started to be on stage as a musician in 1985), he began devoting himself to the theatre. He began studying acting at the Cooperativa Theatre in Milan with many important names of the Italian theatrical scene. Mico started his experience of theatrical improvisation studying at the Improvisation School of Milan "Teatribù", where he became a teacher after three years of training and then Artistic Director. He continued studying improvisation with the most important international names. In the last 20 years he's been teaching theatrical improvisation techniques and acting around Italy and Europe. He’s been teaching and he has been part of many theatrical improvisation show at festivals (and private schools) in Sweden, Ireland, Portugal, England, Spain, Finland, Germany, Turkey, Switzerland, Holland, France, Denmark, Bulgary, Austria, Greece and USA. As an actor, author and director he takes part in many productions of "official" theatre, working with various theatres in Italy.
His professional path and inspirations come from merging the tools of improvisation with those of physical and text-based theatre and the idea that no-verbal is stronger than words. Improve Theatre hasn’t rules but tools and these tools should give us, with training, the necessary attitude to have a coherent improvisation on stage. How can we achieve this? With the desire to read the proposals instead of writing them