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2019 Day 5

Miss Mertens Refuses to Grow Bigger by Carolin Sanders (Germany)

Miss Mertens was a performance that talked about sustainability. It started with a new and unique setting. The whole performance area was set in a very casual method. The snacks and the distance with the actors was a completely new experience or the audience in Pune. The fifteen minutes long performance explained the inner exploration of the actor. It made use of very little set and casual costumes which is what made connecting to the character much easier. All in all, the performance was an exceptional story of self andsustainability of the environment, and the problems faced by this particular character.

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2019 Day 5

Pirosmani by Poti Valerian Gunia Professional State Theatre (Georgia)

One of the many legends about Niko Pirosmani was depicted through storytelling in this wonderful puppetry performance. White lighting, black costumes of the actors, and the perfectly handled puppets made magic on stage. The actors were emotionally one with the puppet and they together depicted a story with minimal words. The movements of the puppets were so detailed and delicate that they started seeming alive at one point. The synchronization and attention to detail were on point which made the audience not want to even blink an eye.

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2019 Day 5

The Physical Text Workshop by Dr. Jimmy Noriega (USA)

The session by Dr. Jimmy Noriega started with basic warm-up walks. The workshop aimed at bringing into an actor’s performance different types of walks and developing basic group dynamics. Movement in group dynamics is developed due to this exercise. The next part concentrated on the various elements of art and performance and how these elements affect movement and meaning-making in a performance.

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2019 Day 5

Introduction to Breath and Emotion Workshop by Vinay Kumar (India)

The first workshop on Day 5 started with information about human anatomy. An actor needs to know his/her body in order to be in control of it. Going into the basics of Navarasa – Veera, Hasya, Adbhuta, Shringara – and understanding the bodily changes that take place while experiencing these emotions, and the recreation of these emotions is acting. A person may fake an emotion on stage but it will only be appealing to the audience if the person is able to recreate the physical changes as a result of that emotion. While recreating these emotions, complete control of the respiratory system is necessary. The following exercises involved the respiratory system and eventually making it stronger.