theatre is Pantheatre's more complex training, developped by Enrique Pardo, which
takes the voice and its extended range techniques into image-making and the poetics
of contemporary dance-theatre:
Pardo's approach to physical theatre explodes the interpretation of texts by stretching
them into choreographic networks: language becomes a poetic partner to image,
and no longer its sovereign. Illustration yields to paradox. Texts unfold new
versions, including subversions and perversions. The body is caught in complex
images, while the voice harvests and expresses the emotion."
work is sometimes described as "playing the piano with three hands",
since it involves parallel training on movement, language and voice, their interconnections
and, especially, their disassociations. Not cool chance collage work, but synthesis,
involving actor and person. It explores fully the training and poetics of contemporary
Pardos approach to choreographic theatre includes language through a relentless
fight against textual tyranny, in order to avert the kind of domination that binds
theatre to declamation, illustration, demonstration. The aim is a dance of ideas,
a dance of text and context - "choreographic", in this sense: the body,
caught in complex images, the voice harvesting and expressing emotion."
Theatre workshops bring together text, voice and physical theatre. While
based on exacting group-composition disciplines, it promotes personal expressivity
- especially vocal. Previous dance experience is not essential, but one must
be prepared to move and be moved.
Workshop Symposium on Choreographic Theatre
May at Malérargues
(Roy Hart Centre), Southern France
also Exchange with Antonia
Dogget on definitions of what is choreographic theatre.
becoming a controlled musical instrument, or the modulated support of language,
the voice is a fabulous means of expression, linked to our innermost impluses.
Every sound, from the most ethereal sigh to a wrenching scream, from the highest
coloratura to the lowest of growls, must claim its place in our artistic imagination.
To extend the expressive fields of the voice requires a certain courage of extroversion,
but it also renews the very notion, the very pleasure of "singing".
Although such an approach to vocal expressivity is anchored in musical forms of
discipline, it is, nevertheless, open to everyone, regardless of any previous
musical or artistic experience."
inhabit and move our bodies as mythical temples. There are many Gods and Goddesses,
and each one has his or her temples and rituals, each God has its own "theatre".
A cultural approach to voice and movement studies their images and principles
in the roots of culture, in the figures and in the stories of mythology. Placing
voice and movement in a context of cultural diversity and esthetic differences
encourages multiplicity (all mythic wars start with exclusions!), as well as critical
is one of the oldest Pantheatre projects and was the theme of the 1989
"Myth and Theatre" Festival (James Hillman gave a series of lectures,
and Enrique Pardo presented his work under the title of "The Alchemical Theatre"
with a company of 7 actors). The project included improvised performances and
lectures, and was presented throughout Europe; the biggest production was a month-long
collaboration with Boreas Teater in Oslo, including 9 Pantheatre
actors and singers, plus 12 Norwegian actors (Black Box, Oslo, 1993). A similar
production was set up in Palermo, Sicily, thanks to Patrizia d'Antona, one of
the original actresses in the project. An article on the genesis of this project,
by Dr. Paul Kugler, with an introduction by Enrique Pardo, can be found in Sphinx
Journal, Issue 2, London.
Alchemy at its peak, during the 16th and 17th century was an incredibly mixed
bag of all possible esoteric, mystical, pharmacological, metallurgic, astrological
traditions, including some invented off the cuff by wonderful alchemical artists,
or greedy charlatans (often you cannot tell the difference...) But one thing it
was: great fun and an incredible fund of metaphorical inspiration. Shakespeare
was steeped in alchemy: his plays are full of alchemical references - he uses
alchemy to speak about emotion, power, love, character - the stuff of dreams and
theatre. With the religious persecutions of the Reformation and Counter-Reformation,
Alchemy went underground and all but dissapeared, but its metaphorical (and pagan)
way of seeing the world continued... mainly in the workings of Fine Arts, and
especially of Poetry (the West's greatest metaphorical tradition). Many late 2Oth
c. artists, (especially post-modern), have resourced themselves, knowingly or
not, in models handed down by Alchemy - think for instance of Joseph Bueys.
is the perspective that Enrique Pardo proposes on Alchemy: that it is the West's
great tradition of the "Arts of the Imagination", of a metaphorical
relation to the world. For him it is not a spiritual discipline ("save your
soul", or "discover the gold in yourself"). Alchemy is the depository
of an extraordinarily broad-minded wisdom on the creative process: how matter
is allowed to speak metaphorically, to transmute its 'self'; how imagination creates,
transforms, experiments. And if the alchemist thinks he has been successful, discovered
gold, or hit upon the philosophical stone, Lady Alchemy usually turns the tables
on him or her!
Pardo uses alchemical language and metaphors to comment the "choreographic
theatre" work he proposes, including particular feed back on individual work.
During workshops and theatre projects, he presents different perspectives on alchemy
in lectures with slide projections of classical alchemical images. One of his
lectures gives an alchemical perspective on the main 'schools of theatre': mercury
(improvisation schools), sulphur (energy, truth and 'guts' schools) and salt (repetition
: Lecture and discussion : Saturday April 26, 2003, Paris.
will present images from classical alchemy (16th and 17th centuries) as discerning
pedagogical models, as a type of discourse which is both imaged and critical.
The vocal gesture seen as an alchemy operation between body and language, between
brain, imagination and larynx, mixing words, sensuality and the need to communicate.
Pardo présentera des images de l'alchimie classique (16e et 17e siècle)
comme modèle de discernement pédagogique, comme type de discours
à la fois imagé et critique. Le geste vocal comme alchimie opératoire
entre corps et langage, entre langue et larynx, mêlant paroles, sensualité
et effets de communication.
theatre / dance / text laboratory based on the notions of object metaphore and
ARCHIVE article now available by Enrique Pardo (published in Spring Journal 1988
The Academy of Boredom
April 2007 New York Project Presentation :
The Academy of Boredom ”, is both a chaotic and a highly ritualized laboratory for the study of acting with objects. Mythologically, it invokes an uncanny alliance between two divinities: Great Pan, the God of panic, who embodies the caprice and emotion of the so-called inanimate world, and Kronos, the tyrant God of chronological and melancholic orders, Father Time, the Roman Saturn, the keeper of the eternal and repetitive dream of a Golden Age, where he reigns by swallowing his children.
Enrique came up with this idea while directing a laboratory in Bologna , Italy , where every participant turned out to be an amazing Harlequin. After a couple of days of being entertained Enrique asked if they had an alternative to comedia dell'arte . Three archetypes were then excluded : babies (imagination handed over to spontaneity and ‘curing' curiosity), the eternal child (Harlequins: clever, mercurial, original) and the dramatic actor (lots of personal drama but little meaning.) What's left once Saturn swallows these children of the imagination?
The answers are rich, exacting, deep, exhilarating, adult. They give priority to imagination as perception, to listening and observation, and analyse the metaphorical ways in which we read and use objects, and, by extension, the way we read and use the world. One of Enrique's definitions: “superstition is the ecology of the imagination.”
The weekend will include basic training in choreographic theatre, voice performance and setting up of texts. Participants are asked to bring a working text of some 150 words learnt by heart (any genre, not necessarily theatre.)
Advice on the choice of text on : http://pantheatre.com/archives/pages/ texts_gb.pdf
Articles by Enrique Pardo on “The Academy of Boredom” (Published in Spring – A journal for archetypes and culture): http://pantheatre.com/archives/pages/writings.htm
Academy of Boredom is both a chaotic and a ritualised laboratory for the study
of acting with objects. It gives priority to imagination as perception, listening
and observation (which includes the notion of "service"), and analyses
the ways in which we read and use objects metaphorically, and, by extension, the
way we read the world.
the Academy invokes an uncanny alliance between two divinities. Great
Pan, the God of panic, who embodies the caprice and emotion of the so-called
inanimate world. At his legendary death, which coincided with the advent of Christianity,
the rocks and shrubs are said to have moaned and cried, they were heard for the
last time (the end of paganism). The other divinity is Kronos,
the tyrant God of chronological and melancholic orders, Father Time, the Roman
Saturn, the keeper of the eternal and repetitive dream of a Golden Age, once upon
a time, while he reigns by swallowing his children.
more militant, philosophical, premise of The Academy of Boredom is the
notion of "objective imagination": imagination
as belonging to the world, to the objects (and not to the actor-subject); objects
are the teachers - the rulers of animation. This is a concept akin to polytheistic
animism and also, as mentioned below, to many traditions of puppetry, where the
anima (soul) of animation belongs to the objects, to its figuration. It is
close to superstition: perceiving what the
world has to say, and far (very far!) from Walt Disney!
heroes (inventive actors) take to the stage to play out their scenarios, to show
how clever, original and different they can be. Dramatic heroes (dramatic actors)
storm the stage with cultural 'missions', usually to express their identified
plights, their capacity for subjective emotion. The Academy of Boredom
tempers both (and sometimes excludes them!) in order to read other 'sub-missions':
the voice and character of objects, their will, the patterns and tragic undercurrents
in the world, its deeper rumors, the gossip in the landscape, in the context,
in the subtext.
Academy of Boredom sets up highly ritualized structures for the study of acting
with objets. In its performing projects, usually a series of scenes are created
based on a choice of 6 or 7 different types of objects. Some of these objects
are unique, alone on stage; others serial, leading to work on repetition. Objects
on stage are given the strongest status: they are the protagonists, calling upon
themselves connotations such as totem, fetish, tabernacle, idol - what is generally
implied by "colossus": objects that carry
and radiate mythological figuration and fascination. Colossal qualities are not
necessarily to do with size, gigantic: a small object can achieve colossal figuration.
work of object-metaphor that develops is not unlike many traditions of
puppetry where the actors-manipulators, even if in full view of the spectators,
make themselves invisible, absent presences that defer to the power and magic
of the objects animation. Furthermore, all scenographic aspects are geared
to emphasize this formal, ritualistic primacy of the objects, especially lighting,
with the beauty and irony of minimalistic temple-like settings.
this colossal and purposely intimidating scenographic installations,
the actors (between 8 and 12), work choreographically and speak their texts. Their
work involves the displacement of the objects in ritual re-arrangements; these
choreographic tasks, based on "moving objects", are perturbed by all
sorts of incidents, anecdotes and accidents, including catastrophes coming from
the way the objects behave. Most rearrangements are "mission
impossible": the objects are too large, too awkward, too difficult to be
cleverly controlled and manipulated. In fact, most of the time, failure
is the point, bringing in the emotion of tragedy, or the hilarity of comedy -
or, better: both together.
stories assembled in these sessions, which include the texts and the way these
are re-interpreted in these scenographic and sometimes catastrophic contexts,
have the forbidding (and forebidden!) qualities of gossip in
church: they bring out the anecdotical and even sacrilegious aspects of mythological
stories. The work combines, at all levels, monumentality and humor, myth and gossip.
the project requires close collaboration between plasticians (sculptors, scenographers,
puppet-makers, lighting designers) and the work on acting, dancing, story-telling,
performers professional profile is open to actors (who can move) and dancers
(who can act). It also requires a certain sympathy for working with
objects that can only be judged in practice by audition.
the performing project needs minimum a performing area of 80 square meters
the work should be presented in close proximity to the audience.
it can be adapted to different forms of staging (frontal theatre, gallery spaces
in the round or with spectators on 2 or 3 sides).
performance presentations consist of a series of 6 or 7 scenes (corresponding
to the 6 or 7 types of objects), with a possible intermission.
these 6 or 7 scenes vary considerably in rhythm, theme and mood, ranging from
terror to comedy. As a performance project, it addresses all adult publics: if
the research can be very specific and advanced, its public presentation
should be fully accessible.
the corresponding 6 or 7 texts (one per scene) are usually chosen from contemporary
authors, allowing them to be seen in a completely different light, out of the
contexts for which they were written.
most aspects of these scenes are fixed: objects, texts, musics, lightings, actors
roles and tasks. The pattern and finality of the ritual, its objective story-line
(how the objects are to be moved) is also made clear. It is the behavior of the
objects that opens improvisation: they will be build and set up in such a way
that accidents will inevitable occur, leading even to the total upheaval of the
for professionals and spectators can be organized around the project, as well
as debates and work exchanges with other companies whose ways of working that
could be tried out within the framework of The Academy of Boredom.
and the poetics of mantics have been a theme of central importance in Enrique
Pardo's work in the last years. The definition he has proposed is the following:
"Supertsition is the ecology of the imagination", where, to put it very
succintly, superstition creates a link between nature, the objective world, and
the imagination. Superstition means listening to the world. The radical bias,
and open militancy of such a positioning, questions the emphasis on subjectivity
in contemporary theatre, and art in general: the preconception that imagination
is a subjective, personnal, internal inventive factor. It leads to the notion
of an "objective imagination", a proposition which counters most contemporary
towards the year 2000
were notoriously superstitious, with a special place for birds' overview (omens,
auspicious, auguries all come from words related to birds): the work on superstition
is based on similar forms of listening - 'reading the signs' - in order to enrich
imaginal perception. They are about the meeting of voices and images in emotional
(in Rome we should call him Mercury), the God of thresholds
and of luck, of the "ambiguities of communication", protector of thieves
- himself a smuggler of souls, did not take to guard-dogs barking at barriers.
Often, it seems, after the God's passage and the proverbial silence that falls
when "Hermes passes", many an overzealous guardian dog was found with
its throat slit.
watching" in ancient Greece must have been a very popular sport for Aristophanes
to devote a whole play to the subject: when his birds go on strike, communications
break down between Gods and men.
has it that the dogs of the hillside district of Fourvière, in Lyon, fled the
area one week before the landslide that destroyed it. Those locked-in, that could
not escape, went mad, howling, smashing through windows or tearing their necks
with the chains that bound them.
one evening a black cat crosses our path, what a loss it would be if we no longer
felt that shiver of awe and adrenaline - the visitation of a pagan emotion. If
our imagination is disturbed, altered, provoked, is it Hecate going about her
business? Or maybe Pan himself, with a dash of panic... Or to go all the way with
pagan imagination: it is an epiphany as should be the presence and behaviour of
any animal. Animals are gods.
touched upon superstition during the '95 Myth and Theatre Festival, dedicated
to Magic. Enrique Pardo proposed the definition: "Superstition
is the ecology of the imagination", or, to return to Hermes, an imaginal
hermeneutic. Ginette Paris, writer, specialist in mythology, and one of Pantheatre's
inspiring partners, said at the time that she had always thought of superstition
as "the graveyard of the imagination", where each image is entombed
in a fixed niche in tidy dictionnaries of symbols.
and Linda Wise's improvisation laboratories refer constantly to 'reading the signs',
to imagination as perception, to keeping one's attention tuned to what the world
and its creatures are saying.
Greatest Linguistic Teacher
calling on Hate as master teacher must be seen as part of a pagan working ethic
(and esthetic), i.e. one that "that welcomes myth, personification, fantasy,
complexity, and especially humor, rather than singleness of meaning" (James
Hillman). Stirring the semantic hornets nest makes for an artistically happy
Hate, one that stings with insight, poisons naive interpretations, and fosters
a theatre that lets fly its tempers, emotions and intelligence.
Le plus grand professeur de linguistique
L'on ne peut faire appel à la Haine comme figure maîtresse, comme "grand professeur", que si l'on se place dans une éthique de travail païenne (une esthétique aussi), c'est à dire une éthique/esthétique qui "accueille le mythe, la personnification, la fantaisie/fantasme, la complexité, et surtout l'humour, plutôt qu'une pensée à interprétation unique" (James Hillman.) Le fait de donner un coup de pied dans la fourmilère semantique fait surgir une Haine artistiquement 'heureuse' qui empoisone les interprétations naïves, et encourage un théâtre qui laisse voler ses tempéraments, ses émotions et son intelligeance.