Jenuary 2016 – Seminar

A theatrical seminar with actor Natalia Stylianou and director Oresti Tatsi.

Subject: Scouting a “role”

Reference Material: Fernando Pessoa “Poems”

October 2015 – Jenuary 2016 – Seminar

A Three Month Theatrical seminar (Master class) with actors: Dimitris Imellos, Nikos Yallelis actresses: Natalia Stylianou, Maria Savvidou, dramatist: Elsa Andrianou, and directors: Orestis Tatsis, Eleni Boza, Aris Troupakis.

Subject: The Actor and the Synthesis of his Tools

Reference Material: Aeschylus’ Persians

February 2015 – Seminar

Monthly musical seminar (Master class) with composer / piano soloist George Paterakis

Subject: Drama in opera
Reference Material: Orpheus Gluck, Mozart’s Don Giovanni, Puccini Tosca

Many times young performers to serve a role in an opera called, besides the necessary and requisite technical knowledge, also know basic dramaturgical principles of the libretto.

In this seminar will deepen the musical instruments used by the composer, will analyze the dramatic weight of the libretto and characters, will put the work in historical, social and philosophical context of the time and will do a comparative approach different executions of the greatest interpreters.

December 2014 – Seminar

Master class with actress Maria Savvidou

Subject: Narrative and Theatrical  text

The text for the actor, both the theatrical, and the narrative is both a starting point and destination in the acting function.

In this seminar participants will come together through a series of exercises and tests, with a text approach practical method.

November 2014 – Seminar

Monthly Theatrical seminar (Master class) with actress Natalia Stylianou

Subject: The actor and his tools

Reference Material: Greek poetry

Through this seminar will serve as a solid five hours lesson once a week, we will work practically the tools of the actor (voice, body, imagination, improvisation) using various exercises both on a personal and group level.

November – December 2014 – Seminar

Monthly Film workshop (Master class) with Film director Reina Escenazy

Subject: Playing in a short film

When an actor takes part in a film, the process required to participate starting from reading the script until the shooting, depends not only on the acting function, (since screen acting is different from that of the theater), but also by different technical conditions required in shooting.

At this seminar we will follow throughout the process that needs the actor from the first reading of the script until the filming, and later the film and commentary.

September 2014 – Seminar

Monthly Theatrical seminar (Master class) with actor Dimitris Imellos, actress Natalia Stylianou and dramatist Elsa Andrianou

Subject: The acting approach of ancient tragedy
Reference Material: Aeschylus Agamemnon, Aristotelous About poetics

July 2014 – Seminar

A five-day Theatrical seminar (Master class) with actress Natalia Stylianou and dramatist Elsa Andrianou

Subject: Dramaturgy – Acting: A Common Axis

Each theatrical text is divided into scenes, which constitute the core of the implementation stage of the theatrical text.

The seminar will focus on specific scenes (crosstalk – monologue) from Shakespeare’s “The Taming of the Shrew”, exploring the possibilities of different acting methodology ventures on the same material.

May 2014 – Seminar

Master class with Film director Reina Escenazy

Subject: Actor in front of the camera

Not a few times actors are asked to do a trial or pilots on television or movies or commercials without even knowing how to manage their expressive means, since screen acting is different from that of the theater.

This seminar aims at a first acquaintance with the camera, the terminology of filming and how to handle the screen acting.

April 2014 – Seminar

Master class with dramatist Elsa Andrianou

Subject: The actor and the text

The seminar aims at a first contact with the text using key methodological tools of dramatological analysis related to the function of acting and not to the theoretical analysis of the text.

This will provide basic guidelines and attempted tests on the documents for the main dramatological analysis tools as recognition of proposed conditions, incidents, objectives and actions as they emerge but never recorded in the theatrical version.

October 2013 – Seminar

Master class with actor Vasilis Andreou

Subject: The Monologue Technique

The seminar will focus on practicing the monologue through the following stages:

a) The actor detects the theme of the monologue.

b) The type of address and the addressee are specified.

c) The perspective of the speech is detected.

d) The pace of the monologue is studied.

e) The “body” and the “psychological gesture” of the monologue are structured.

July 2013 – Seminar

A ten-day Theatrical Seminar (Master class) with actor Dimitris Imellos, actress Natalia Stylianou and dramatist Elsa Andrianou

Subject: The Actor and the Synthesis of his Tools

Reference material: The Merchant of Venice by William Shakespeare

The acting process is a complex procedure that requires a synthesis of multiple parameters. This seminar is an exercise combining such parameters in practice. It will develop as a rehearsal model which combines the stages of reading/analyzing the material to be presented, the actor’s preparing (physically, phonetically, imaginatively) for the onstage praxis and the personal acting approach through the technique of improvisation. These stages will not be regarded as three autonomous ones, but as stages constantly interconnected to one another.

The material to be the subject matter of this “research” is Shakespeare’s The Merchant of Venice which poses acute and absolutely modern themes. These themes will be approached through theatrical means on the level of a personal interconnection between the theme and the actor.

April 2013 – Seminar

Master class with actor Dimitris Imellos

Subject: The Subtext and its Depiction on the stage

It is often said that an actor must make a text his own or walk in someone else’s (the role’s) shoes.

Would I ever want to wear someone else’s clothes and shoes?

Would I ever want to eat someone else’s food?

Would I ever want to live in someone else’s house or drive their car?

NO.

Then why would I ever want to speak someone else’s words and live their life onstage? Could this “someone else” be I, at some point lost or stolen?

With the stage as us our ship and Greek poetry the wind in our sails we shall attempt the journey home to our lost self.

February 2013 – Seminar

Master class with director – composer Thodoris Ampazis

Subject: Sing it to me… So I can understand it

An improvisation seminar aiming at highlighting the expressive potential of music in the theatre.

What kind of action do actors perform when they sing?

Do they illuminate a sentimental state or do they develop the narration? To what extent can a song, a tune, a sound substitute a text? Is activity an action? Can music generated by an actor open new paths to comprehending a story? Can it shift the main event of a scene?

Managing musical materials to formulate roles.

Music and song as:

Structural elements for the development of a theatrical character

Expressive means in making themes public

Scenic aid to achieve goals

Dramaturgic tools in the overall composition

January 2013 – Seminar

Master class with actress Maria Savvidou

Subject: The Text and Action through Speech

In relation to acting, the text, primarily the theatrical, but also the narrative one, constitutes a starting point as well as a destination. In theatre, as far as the actor is concerned, “understanding means being able to do” (M. Chekhov). Thus, the objective is for the participants to come in contact with certain tools through exercises and tests, a method of approaching the text in a practical manner.

December 2012 – Seminar

Master class with director – actor Stratis Panourios

Subject: Actor and Object

Actors are often required to communicate with objects which are integral parts of their role. The handling of these objects can illuminate a role and reveal its hidden facets. Using and communicating with an object onstage requires a conscious “user” and a “craftsman.”