The main focus of the program is to answer the crucial nowadays question is “How to enrich dance performances with psychological tension?” and “How the physicality in acting enriches drama performances?”. Probably, these are two most demanding and most interesting questions that modern directors and choreographers are facing.
The program is designed as a full-day workshop lab, where students will practically / physically explore different techniques which will help them to discover answers on these questions.
The course may be valuable to practitioners interested in the processes of creating contemporary dance, movement or physical theatre performance — particularly artists wondering what it might be like to collaborate with a dramaturg, and even, how to take the role of dramaturg by yourself.
In parallel, students will touch “Theatre Biomechanics” technique of Russian avant-gard theatre innovator V. Meyerhold, “Psychological Gesture” of M. Chekhov, the “Physical Action” of K. Stanislavski and several different techniques.
The working language is English.
The training is designed as the multidisciplinary intensive lab with participation and practice together with performers from different techniques and countries. Multidisciplinarity and multiculturality is one of the most important principles of our programs.
OSTRENKO BROTHERS METHOD
The Ostrenko Brothers’ Method is internationally renowned, from Russia to the USA, from Iceland to South Africa, from Canada to Australia, from Singapore to Italy and beyond.
The Ostrenko Brothers’ Method is a systematic approach to performance, which generates innovative productions utilising concepts, ideas, and existing play-texts. It introduces some of the effective techniques and approaches towards contemporary performance practice in the context of the short rehearsal time and multicultural aspect of the creative team.
Ostrenko Brothers method offers the tools and support necessary for students to reach their full potential.
The programs aim to explore performer’s physicality, step beyond the limits of text-based acting through the introduction of V. Meyerhold’s “Biomechanics”, K. Stanislavski’s “Physical Action”, M. Chekhov’s “Psychological Gesture” and elements from modern techniques.