Fall & Spring Semester Physical Theatre Program
This program is an introduction to the world of physical theatre and offers participants the opportunity to learn from world-renowned masters of their craft. Students concentrate on various physical theatre techniques and forms including contact improvisation, mask performance, Commedia dell'Arte, voice, special workshops with guest instructors in various forms, Italian language, and the philosophy of performance.
September 2 - December 7
October 15 - 23
Fall Application Deadline:
January 23 - April 27
Spring Application Deadline:
PLEASE NOTE: The dates above include arrival and departure. The Accademia dell'Arte does not accommodate students before or after these dates.
for this program.
We are now offering an Early Bird Discount of 5% off total tuition ($1,055.00) if you apply and pay the deposit for our Spring Programs before July 31!
for more information.
Please visit the Tuition & Fees
page for complete details on all program costs.
In the spirit of the actor-creator, this semester provides ensemble-based physical theatre training with an intense focus on movement/body work, vocal techniques and Italian language. Students will learn new approaches to performance through their encounter with teachers and artists from various contemporary performance fields, and from Commedia dell’Arte, interwoven with mask-making and other related performance topics.
Students will be guest artists in residence during a study tour in Ljubljana, Slovenia, participating in a professional-level workshop with Accademia faculty. Students will have the opportunity to see professional performances, as well as present their own work generated during the semester both in-house and locally, as assessed by the faculty.
Over the course of the semester, students will meet 3 to 4 times a week for voice and movement work enhanced by guest artist offerings, an intensive block of commedia dell'arte and ending in a two-week intensive workshop. Throughout the semester students will reflect on the nature of their class work through a philosophical lens in the academic seminar the Philosophy of Art and Performance and the addition of the Introduction to Contemporary Performance Theory module including lectures and screenings.
INTRODUCTION TO CONTEMPORARY PERFORMANCE THEORY
with Nhandan Chirco, Leonidas Martin, Nikolai Jeffs, Emil Hrvatin and Fabio Mangolini
This short theoretical module involves six hours of conversation, introducing artistic currents and relevant artists and companies active in the field of physical theatre since the 1900s. The discussions, led by Nhandan Chirco, aim to contextualize their work within the broader field of contemporary art, addressing the multiplicity of approaches and practices that flourished in the twentieth century. The students will be introduced to the new Contemporary Performance Library available at the Accademia to use as a tool to integrate their knowledge about contemporary theatre. In addition to the discussions, there will be a series of four performance screenings of contemporary physical theatre. Guest artists, theoreticians and ADA faculty will give lectures on specific artistic approaches and on the relationship between art and society. The module includes lectures by these guests: Leonidas Martin, Nikolai Jeffs, Emil Hrvatin, Fabio Mangolini
Download an example of a typical semester schedule here.
Semester Courses (3 credits each)
Voice and Performance
Extended Performance Topics: Movement and Bodywork
Commedia dell'Arte: Acting I
The Philosophy of Art and Performance
Italian Language I or II
Commedia dell’Arte: Acting I
Instructors: Giangiacomo Colli - Acting, Dramaturgy and Constructing Canovacci
Andrea Cavarra - Leather Mask-Making
Dory Sibley - Voice in the Mask Coaching
Scott McGehee - Commedia History Lecture and Discussion
From the sixteenth to the late eighteenth century the itinerant performers of the Commedia dell’arte developed a style of acting and performance that was to have a tremendous impact on the development of the European theatre. In the twentieth century this style was rediscovered and once again influenced such movements as the expressionist theatre, theatre of the absurd and the futurist’s experiments, as well as individual artists such as Meyerhold, Gordon Craig, Samuel Beckett, Lecoq, Mnouchkine and many others. A study of the traditional techniques developed by Commedia provides modern actors with a vastly expanded artistic repertoire from which to develop a personal style.
This acting class will develop the practical use of the masks of the stock characters of the Commedia dell’arte. Through work on gesture, voice and movement within a specific socio/historical context, students will explore the characteristics of Arlecchino, Zanni, Brighella, Pantalone, Colombina and others, with the intention of developing the student’s own personal version of the character.
The class format will be based on intensive studio work and individual movement and voice in the mask coaching with daily exercises designed to develop the masked character. Students will work on improvisational techniques through work on various scenari and lazzi. Scene study in the form of short scenes, or canovacci, will be a regular component as well as historical lectures and discussion.
The application of Commedia masks in comic traditions from Goldoni through Gozzi to Molière and Marivaux may also be a feature of this course, depending on faculty.
In addition to the intensive studio component, this course will include a mask-making workshop. Students will sculpt a clay version of one of the stock Commedia masks, making a mould from this that serves as a “negative” for the fabrication of a mask in leather. The student then completes the mask through applying layers of finishing coating and finally paints and highlights its dramatic potential. The students may have the opportunity to use their masks during their commedia acting intensive.
Informal class presentations of studies and scenes are a regular part of the class schedule. The work will culminate into a final performance. At their discretion, faculty may present students’ work before a wider public at the Accademia or a local venue.
Voice and Performance
Instructors: Dory Sibley
Extended Performance Topics: Theatre
The core of the Voice and Performance course, taught by Dory Sibley, will focus on bridging the voice, movement and masked voice through her Vocal Body method. This technique allows the performer to maintain the integrity of vocal production while speaking and singing in extreme or unconventional situations: as a masked actor or acrobat for example. Weight sharing, kinesthetic response, body mapping and emotional engagement will be utilized in order to free the whole voice. Students will be guided through practical exercises and warm-ups tailored specifically for the physical actor. These exercises are employed to find unlikely characters and unleash a three-dimensional sound to uphold the rigorous demands of masked physicality. Students will develop greater range, flexibility, sustaining power and emotional presence through concentrating on 'sound for storytelling' and systematically challenging their boundaries in terms of pitch and quality.
Saso Vollmaier will enhance the course with a focus on improvisation. Students will explore their relationship with sound and music in a profound way. First he will introduce the musical language through simple phrases and memorized songs that then can be used in various exercises that utilize movement, voice and music to connect and build the ensemble process. With the support of Saso on piano, they will begin to create simple conversations that create a musical atmosphere. Finally, students will be guided through musical and textual improvisations that will be developed and shaped in collaboration with both Saso and Dory.
Overall, this course investigates text and song in order to free the imagination and create unique, informed choices in the vocal body. The work centers around ensemble building and performance and will end in a final showing of the creative materials.
Instructors: Nhandan Chirco - Movement and Body Work
Jonathan Bianchi - Capoeira
Designed as an introduction to the methods and aims of Physical Theatre, this course provides movement and acting options that reflect the inter-disciplinary thrust of the program. It is divided in Body Work - with focus on physical training - and Creative Work - that aims to provide tools and principles to develop individual and collective performances in the field of physical theatre.
Physical training also serves to prepare students for the intensive needs of commedia and mask work.
The course is led by Nhandan Chirco and incorporates the collaboration of guest instructors. Currently Extended Performance Topics combines: Movement and Body Work course, the Capoeira intensive workshop, the warm-up and conditioning four times a week.
Movement and Bodywork
The course focuses on development of the performer’s movement and body-awareness, preparing students for physically demanding stage performance. The Body Work consists principally of physical training specifically designed for movement based theatre practitioners, which helps to form both a more spontaneous and a more articulated body. In addition to that, the training approaches some of the key issues of acting technique. The significance of the Movement Work is related not only to challenging physical training, comprised of a specific in-movement-approach to the performer’s creative potential, but also to providing students with some methodologies for improvising and structuring their own performance materials. Textual materials, such as poetry and prose, are used as an offspring for devising solo and group performances, as different processes are provided as an impulse to create individual devised fragments in which they can express their artistic specificity and personal interests in the approach to performance. The course provides precise practical knowledge which enables students to articulate through body/movement both individual and collective creative processes in a well-crafted and competent way. The aim being the (re)discovery of the body as a principal tool for the creation of a personal artistic language in performance. The proposed methodology is based on physical training developed by Grotowski and Richards, on technical elements stemming from contact improvisation, Butoh dance, Yoga and martial arts, and on various techniques of improvisation and movement composition from contemporary dance.
Capoeira workshop involves intensive movement work, acrobatics, singing and rhythm, interaction with partners, strong work ethic and community spirit. This makes it a particularly appropriate training for theatre practitioners. Born in Brazil and grounded in the context of the enslaved black and indigenous people, this work is connected to their fight for identity. The history of capoeira is rooted in political issues and the relationship between artistic practice and social context.
Acting Technique: Psychodrama Techniques and Creative Process
Tomi Janežič is a director, designer, acting researcher, and psychodrama psychotherapist who currently teaches at the University of Ljubljana. He has toured performances, lectured, and taught all over the world throughout Italy, Slovenia, Portugal, Russia, the United States, and dozens of other countries. He has developed his own particular style of acting, which is already being acknowledged worldwide. He has won many awards for his work, including a Borštnik award, four Sterija awards, and two MESS Golden Laurel Wreath awards. After the sessions in Arezzo, students will continue work with Janezic during the study tour in Ljubljana.
Iztok Kovac – EnKnap Dance Company
(introduction below – at Ljubljana Study Tour)
(introduction below – at Ljubljana Study Tour)
Philosophy of Art and Performance
Instructors: Emilija Dimitrijevic
The many paradoxes of the modern world, perhaps first clearly articulated by Rousseau, continue to provide a backdrop to all of our social activity: greater personal freedoms encased in a world of greater social regimentation, increased diversity of choice amidst an inexorable drive toward homogenization, increasing production of wealth along with the dramatic growth of poverty, vastly expanded communications providing the tools to increased isolation and so on.
These paradoxes often go unnoticed as they appear a natural part of life, but these phenomena had an historical development that in turn profoundly affected individual perception. Through an exploration of the development of mass production, the fragmentation and specialization of life and work, the development of the information age, the commodification of culture, the compression of time and space, the disassociation of the body and the aesthetic shifts that have accompanied these developments, this class will philosophically analyze the significance of each. We will think about art—about its nature and its important place in human life.
To facilitate this, the course brings together the writings of philosophers and the work of artists from a variety of domains. The goal is not to intellectualize art but to understand the intelligence that goes into it, to enrich our experiences of art, and to foster our own creative sensibilities. We will consider famous writings on art by thinkers such as Plato, Aristotle, Schiller, Hegel, Marx, Nietzsche, Heidegger, Breton, Artaud, Eisenstein, Debord, Baudrillard, Foucault and others in relation to important works of literature, theatre, painting, music, architecture and film.
A philosophical analysis with help the artist situate both the work of art and the actual work of the artist in a broader framework where the role of social mediation between the artist, the work of art and the reception of the work is revealed. Likewise, the potential role of the artist and work of art as social mediation can emerge as a stimulus to the creative impulse itself.
The class format will be based on lectures and seminar-style discussions where each student will present a critical summary of at least one of the readings. A portion of the class, when possible, will include a critical examination of the student’s own experience in a particular workshop and may include Butoh dance, clown training for actors or other special workshops or master classes in which students participate.
Italian Language, Beginner or Intermediate
Instructor: Accademia Britannica
In the first semester course introduce students to basic grammatical structures of the Italian language. Students acquire a basic vocabulary and speaking practice.
In the second semester course, students begin moving toward fluency in Italian by focusing on communication and the exposure to a not stereotypical, more complex and up-to-date picture of modern Italy and Italians.
The readings in the text will provide a point of departure for conversation, which will be an essential component of both classes. These courses will cover aspects of Italian culture and society, as well.
Ljubljana Study Tour
For four days this fall, our Physical Theatre students will have the opportunity to visit the Španski Borci Cultural Center in Ljubljana, the capital of Slovenia. This artistic hub is home to such professional artists and companies as Tomi Janežič, Emil Hrvatin, Iztok Kovač and EnKnapGroup.
The largest contemporary dance venue in Slovenia (a 2200 m² public infrastructure), Španski Borci has been administered by EN-KNAP Productions since 2009. Each year the center, whose socialist-modernist architecture represents a monument of Slovene architectural heritage, offers about 200 dance performances and 400 other events, attended by over 45,000 visitors. It has become a performance venue, production center, research and training center, and a meeting point for local, regional and international contemporary dance, performing arts, and music.
Full-Day Workshop 1: Psychodrama Techniques and Creative Process with Tomi Janežič
Continuing the work started in Arezzo with Tomi Janežič.
Full-Day Workshop 2: Contact Improvisation with Iztok Kovač and EnKnapGroup
Founded by choreographer, teacher and dancer Iztok Kovač in 2007, EnKnapGroup is an international dance company based in Ljubljana. It is the only professional ensemble for contemporary dance in Slovenia. Under the artistic direction of Kovač, this collection of remarkable dancers works with internationally acclaimed choreographers from explicitly diverse aesthetic provinces. Since its establishment, the company has worked with over 30 Slovene and international choreographers and theatre directors, and created 22 full evening stage works and a dance film. The company has over 50 domestic appearances with their repertory over the year, as well as regular international touring.
Lecture: Emil Hrvatin - MASKA at Stara Mestna Elektrarna
Emil Hrvatin is known throughout Europe and the USA for his visual, multimedia and performance art works such as Camillo memo 4.0: The Cabinet of Memories - A Tear Donating Session, which sought to reappropriate the idea of memory in a time of fluid contemporaneity. He studied Sociology and Theatre Directing at the University of Ljubljana, Slovenia, and Performance Theory at the University of Antwerp, Belgium. An acclaimed author and editor, Hrvatin has been the director of Maska, a non-profit organization in publishing, production and education based in Ljubljana since 1999.
Maska is Europe’s oldest professional journal in this field (with interruptions, published since 1920). It fosters high-level critical discourse in the field of performing arts and provides a platform for reflections, confrontations and discussions on contemporary art as well as its local and global contexts. Four double issues of Maska dedicated to specific topics are published every year. In addition to contributions on the dedicated topics, the journal also includes interviews with artists and theoreticians, reviews of performances and books, in-depth contributions on topical phenomena in contemporary performing arts, research findings, etc.
Stara Mestna Elektrarna, the Ljubljana city power station, is a magnificent technical monument and is one of the rare examples of industrial architecture, which is preserved in Slovenia. It has gone through numerous changes since 1898, when its construction began. It was modernized, upgraded and enlarged until the end of World War II, when the power station with its then obsolete technology, was replaced by a heating plant on the outskirts of the city.
Today, the building is a protected cultural, technical and historical monument. It is still owned by the company Elektro Ljubljana, which thoroughly renovated the structure. Some artists “discovered” this interesting building during the 80′s and the 90′s and started to fill it with various artistic components. The Old Power Station is now buzzing with activities including several groups that use it as their rehearsal venue as well as a place for different workshops, which range from cultural management to dance techniques. In the evening, the power station is frequently a venue for various performances and other multimedia events. Stara Mestna Elektrarna still produces no less than one third of the city’s energy as well!
• 9/29: Concert with Tomaz Grom
Tomaž Grom is a Slovenian double-bass player and composer. He explores an extended range of playing techniques, and works to incorporate the use of electronic media into his music. He is noted for his continuous experimentation with his own sound and potential, guided by the principle of spontaneity. He has also made music for a number of theatre, dance and puppet performances. Since 2006, Grom has been the artistic director for Zavod Sploh, an association devoted to the production of music and performing arts as well as to education and publishing. Through this organization, he creates and leads workshops about electro-acoustic music and improvisation.
Within its last project Maximatika, Zavod Sploh presented various concerts and workshops which focused on the manipulation of sound textures and musical structures with the help of live digital sound processing. The current workshop series, Search and Reflect, is inspired by the famous English percussionist Eddie Prévost's didactic methods and dedicated to musical improvisation, listening practices, and various modes of musical expression.
Upon their return to Arezzo, students will participate in a workshop with Tomaz Grom connecting to the performance they will have seen in Ljubjlana.
• 9/30: On the Right Track by Via Negativa at Theatre Glej
Two back-up singers find themselves alone on an empty stage. No solo singer, no band. They are “backing up” the emptiness.
This is the absurd situation we are currently living in, a situation in which the political system only keeps up the appearances of there being phantom opportunities of some kind, of phantom possibilities, phantom freedom, etc. In fact, there is no longer anyone who could fill this empty shell of “democratic values” and “free society” with any kind meaning. In a democratic society, any possibility of meaning is also democratically abolished. But still we would like to believe that there exists some hidden backstage in which decisions take place; and exactly because of that, we, “citizens of the free world”, also generate this logic by ourselves. We still believe that we live in a world of opportunities. But there is no backstage anymore, there is no longer anyone who would take on the risk of decision-making. Politics as an art of decision-making no longer exists. There is only the spectacle of a void.
Via Negativa is a platform for research, development and production of contemporary performing arts. The platform is based on working methods developed by the theater director, the founder and Via Negativa artistic director Bojan Jablanovec.
Via Negativa is an open type project. They are not bound by the set-ensemble logic of a fixed number of constant members. With each new project, they organize as a group of individuals connected by an interest in research of contemporary performing arts and development of performance strategies.
In the first 10 years (2002–2012), Via Negativa produced 48 projects including 12 large format performances, 23 small format performances and 13 collective presentations. These projects involved more than 80 performers from Slovenia, Croatia, Serbia, Belgium, Spain, Ireland, Poland and Denmark. During this time, they performed more than 200 performances on tours and in festivals in 21 different European countries and in various places around the USA.
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