Economy of Violence
Choreographic Theatre Workshop
movement, voice, texts
use of metaphorical violence calls for a refine and economical use. The primary
danger with FURY is that it can burn out all sense of poetry, and capacity for
The Green Lion - Alchemy's emblem for drama and fire
- ends up bleeding the sun, the very source of all energy. And yet Alchemy warns
us that without this Green Lion, the opus, the work cannot start: without
passion there is no art, while art gives form and transforms violence.
calls upon the Green Lion in the hope that it will turn red, become the legendary
Red Lion, the monarch of the stage. It is said
that when a Red Lion makes his entrance onto the stage, the stage becomes red.
even this kind of achievement can become problematic. There are the aging, veteran
lion kings (!) and queens - with their furious megalomania and their broken voices,
believing themselves to be the sole masters of theatre - and who end up embittered
tyrants. It's the jesters and buffoons who deal with their kind of violence, through
humor and the corrosive intelligence of their mercurial comic.
workshop will apply a tragic-comic approach to FURY. Tragedy opens the mythological
dimensions of violence, injustice, unfairness, and of the fury these provoke.
Comedy subverts the sentimental pathos of soap operas, and helps us laugh at our
FURY, pots and pans fly... a tradition, it seems, in Linda Wise Scottish family!
(Otherwise, the great god Pan is not known for flying...)
real vocal piano-forte is perhaps the most difficult thing to achieve: to let
fly the temperament of an enraged broken scream, and to transform it into a sustained
lyrical pianissimo, where one can still hear the underlying passion...
Roy Hart work is known for its exploration of the frontiers of the voice. Linda
Wise, one of its best-known teachers, takes the work into music and theatre.
The workshop, which is open to all, is based on musical disciplines, (singing
with a piano) but doesn't require musical training. It includes relaxation, breathing
and postural work, as well as musical and theatrical improvisations.
both workshops (Pardo and Wise) participants are asked to please bring a
working text, learned by heart - the text may be of any style but preferably
Ideally the texts should have some connection to the theme
of FURY, but this doesn't mean they have to
be 'furious', and laden with exclamation marks and superlatives! They can, for
instance, be ironic, or inciting or countering fury - the ridiculous furies of
Orlando Furioso (the great Italian classic of Ariosto) will be one of the
themes under discussion in the Forum.
The workshops of the Forum will
also serve as laboratories for the texts and scenes of a theatre production planned
for June 2003 in Granada, a Brechtian cabaret called: AMAMÁ'. A
bibliography and a list of texts will be made available to participants.
and María Muñoz
Malpelo Company, Spain.
research and concrete proposals: these could be said to be the two pillars of
Malpelo's artistic endevours. Their style carries an intimistic quality; their
stagings are remarkably simple. Their reflections around humanity bring out its
joys and its miseries, and are not devoid of irony. Gesture is very important,
as are dynamics and energies, without shirking from theatrical elements.
proposals: how do bodies express fury, how small gestures can invite us into furious
landscapes, how the reigning in of rage, and anger con allow us even greater expressions
of its power.