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La Nouvelle Ecole des Maîtres
  / La Nouvelle Ecole des Maîtres

International itinerant course of dramatic specialization directed by Franco Quadri and promoted by CSS Teatro stabile di innovazione del FVG, Fondazione Campania dei Festival/Napoli Teatro Festival Italia and Ministero per i Beni e le Attività Culturali with the collaboration of many qualified European partners - France, Belgium, Portugal


for more detailed information please contact us directly or visit our Italian website www.cssudine.it

directed by Franco Quadri
XIX edition 2 August - 14 September and 7-11 December 2010
Udine, Napoli - Roma, Bruxelles, Lisbona, Reims

Master 2010 Matthew Lenton


La Nouvelle Ecole des Maîtres is an international itinerant course of dramatic specialization for young professional actors. It is directed by Franco Quadri.

promoted by CSS Teatro stabile di innovazione del FVG (Italia), Fondazione Campania dei Festival/Napoli Teatro Festival Italia (Italia), Centre de Recherche et d’Expérimentation en Pédagogie Artistique - CREPA (CFWB/Belgique), La Comédie de Reims, centre dramatique national (France), Direcção-Geral das Artes (Portugal), Teatro Nacional D. Maria II (Portugal)

with the partecipation of Ministero per i Beni e le Attività Culturali (Italia), Unione Europea  - Regione Campania, P.O.R. Campania 2007/2013 (Italia), Regione Autonoma Friuli Venezia Giulia (Italia), Ministère de la Culture et de la Communication (France), Théâtre de la Place / Liège – centre européen de création théâtrale et chorégraphique (CFWB/Belgique), Ministère de la Communauté française – Service général des Arts de la scène (CFWB/Belgique), Wallonie-Bruxelles International  (CFWB/Belgique), Fonds d’Assurance Formation des Activités du Spectacle (France).


The school offers young actors from the theatre schools and academies of Europe the opportunity to meet and learn from some of the finest directors on the international theatre scene and to test themselves by playing challenging roles and confronting masterpieces of modern and classical theatre.

The nineteenth edition will be directed by Matthew Lenton.



WONDERLAND
by
MATTHEW LENTON

The Ecole des Maîtres will be based on collective creation – the development of a work through improvisation, play and shared adventure of sixteen actors, led by the director.

The Ecole will begin with a very simple starting point: the idea of a young woman leaving home and embarking on a dangerous journey.

One key source is a documentary tracing the journey of a young European woman to America where she hopes to become an actress in the adult entertainment industry. Using other sources as wide ranging as Alice in Wonderland, Ovid’s Metamorphoses, fairy tales such as Little Red Riding Hood, Gregory Crewdson’s mysterious photography, as well as a backdrop of contemporary popular culture (reality TV shows, modern architecture and music), the group will
work using improvisation, play and performance to build a scenario for a theatre work.

The unifying idea for this work is ‘Wonderland’. This obviously alludes to the world that exists down the rabbit-hole in Alice in Wonderland:

‘In another moment down went Alice, never once considering how in the world she was to get out again’

It is also a reference to the modern prize of becoming a ‘celebrity’ and fracturing oneself from the ‘ordinariness’ of life. But at what cost? Once you have left everything you know and entered into this ‘wonderland’, how in the world will you ever get out again? What will you have sacrificed?

Finally, ‘Wonderland’ is a reference to our own, shared creative process. Like Alice jumping down the hole, we on the Ecole des Maîtres will be embarking on our own unknown journey, using our curiosity as a starting point. We don’t know exactly where it will lead us. We know there will be puzzles to solve, we know there will be inspirations and difficulties. We know that a work will emerge.

Crucially, the exploration of this material will go hand in hand with the development of
improvisation techniques and practices, which feed and support this creative process. The work will focus on physical and visual, rather than spoken language, on sounds and on silence.

From project to project, aesthetics, processes and subjects change. Each rehearsal room is different, there is no formula, but my approach towards the responsibilities I have as a director remain the same:

The players create the story of the game. They play in front of the spectators, score goals, tackle and defend. The manager decides the way the team plays and develops an approach that suits his tastes – the passing game or the long-ball game, aggressive attack or deep defence. The way the manager works with the players, the emphasis he gives to training, the sense of discipline and commitment he instills, is important. There is an expression in football – ‘to read
the game’.
A good football player can read the game – can see possibilities, pre-empt the movement of another player across a diagonal, can understand the timing of a run, the simultaneous shifting of the positions of other players on the pitch.

A good actor, working in a collaborative process, develops a similar understanding of the possibilities available to him or her. This understanding becomes intuitive, impulsive, spontaneous and allows for the creativity of other actors. This is the understanding we work
towards as a creative collective. We work through play but also through discipline. So, working together in a rehearsal room, a group of actors must engage with a set of rules. The rules are there to serve the creation of a piece of new work. Like players entering a pitch, when an actor enters the rehearsal room, life is left behind. The rehearsal room is a working space, a playing space, a creative space. In this space work will take place, a game will be played, a story will be told.

The stories that emerge will emerge from the actors and objects in the rehearsal room.
Curiosity is the starting point. Working together, we will discover where our curiosity leads us.



MATTHEW LENTON
Matthew founded Vanishing Point theatre company in 1999 and has directed all of the company’s productions. He has also directed for National Theatre of Scotland and numerous other theatres.
Recent work includes the development of Journeyman, a new show at the National Theatre Studio in London, a new version of The Beggars Opera in co-production with the Royal Lyceum Theatre in Edinburgh and the Belgrade Theatre in Coventry; Interiors, a co-production with Napoli Teatro Festival Italia, Traverse Theatre and Lyric Hammersmith; Little Otik (an adaptation of the film by Jan Svankmajer); Subway, commissioned by The Lyric Hammersmith; Mancub, a co-production with The Soho Theatre; Lost Ones and Invisible Man, in collaboration with Theatre de Cournouaille in Quimper, France.
Other work includes an adaptation of Les Aveugles, by Maurice Maeterlinck, performed in total darkness as part of a groundbreaking Playing in the Dark season at BAC. Matthew also works regularly at the Royal Scottish Academy of Music and Drama, developing work with acting students and directing The Visit by Freidrich Durrenmatt and Roberto Zucco by Bernard Marie Koltes. He also developed a new opera for ROH 2 at the Royal Opera House.
Matthew recently completed Boy, his first film, four Channel 4 and Touchpaper Television.


SANDY GRIERSON, associate of the master

As an actor Sandy Grierson works predominantly in devising theatre. He trained with David W.W. Johnstone of Lazzi, ex-Cricot 2 actor Zofia Kalinska  and the Puppetlab in Edinburgh. He is a creative associate of Vanishing Point. In 2007 he won the Critics Award for Theatre in Scotland for Best Male Performance for his title role in Communicado’s production of Fergus Lamont. He has performed in two Fringe First winning performances: Subway (Vanishing Point) and A Little Requiem For Kantor (Ariel Teatr).
Other companies he has worked with include Greyscale, Traverse, Theatre Royal Bath, Teatr  Polski Bydgoszcz, National Theatre of Scotland, Royal Lyceum Edinburgh, Wee Stories, Cumbernauld, Young Vic, Periplum, Wee Stories.
His writing credits include Tonight ... Will Lecture, Dance and Box (Greyscale), Oresteia (Lazzi), Little Otik, Subway, Hidden (Vanishing Point).


Calendar La Nouvelle Ecole des Maîtres 2010


2 - 19 August 2010
stage a Udine, Teatro S. Giorgio

19 August 2010, ore 18
Udine, Teatro S. Giorgio
dimostrazione di lavoro, in collaborazione con UdinEstate 10, aperta al pubblico

20 - 29 August 2010
stage a Napoli, Spazio Körper

30 August - 7 September 2010
stage a Napoli, Teatro Sannazaro

8 September 2010
presentazione pubblica a Napoli, Teatro Sannazaro

11 September 2010
presentazione pubblica a Bruxelles

14 September 2010
presentazione pubblica a Lisbona, Teatro Nacional D. Maria II

7-10 December 2010
stage a Reims, La Comédie de Reims

11 December 2010
presentazione pubblica a Reims, La Comédie de Reims



Secretary La Nouvelle Ecole des Maîtres:
Monday to Friday, 9-13/14 -16
Contact: CSS Teatro stabile di innovazione del FVG
via Crispi 65 - 33100 UDINE - Italy
tel 0432 504765 - fax 0432 504448
Sonia Brigandì soniabrigandi@cssudine.it


Visit partner sites
Fondazione Campania dei Festival/Napoli Teatro Festival Italia www.napoliteatrofestivalitalia.it
ETI Ente Teatrale Italiano www.enteteatrale.it
Centre de Recherche et d’Expérimentation en Pédagogie Artistique - CREPA (CFWB/Belgique) www.theatredelaplace.be
La Comédie de Reims, Centre Dramatique National (France) www.lacomediedereims.fr
Direcção-Geral das Artes (Portugal) http://www.dgartes.pt - Teatro Nacional D. Maria II (Portugal) www.teatro-dmaria.pt

 

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