PLEASURE TO PLAY – Shakespeare and Chekhov
An Online Acting and Clowning Masterclass!
Want to find a more playful and spontaneous way to connect to text?
Want to learn how to bring more of your authentic self to a story?
Want to work in a more intra-cultural and inclusive platform?
Then this Masterclass is what you have been looking for!
Kristine Landon-Smith and Fabio Motta will take you through a series of games, improvisations, text and clown exercises that will increase an actor’s sensitivity and awareness on how to experience the pleasure to play well. The work is based around the principle of bringing one’s authentic self on stage or in front of a camera. It will reveal to the actor how to stay present and connected not only with a scene partner but also with the audience.
The actor is at the heart of the practice, and Kristine and Fabio work with each individual in the collective to encourage a deeper sense of self in both text and clown work.
No previous clown training required. This class is open to all who are curious to play and explore, from actors, to directors and all creatives. This unique workshop forensically examines what the actor needs to do in order to ‘play well’ on stage and on screen, even on Zoom at every moment, whether in scene or monologue, in rehearsal, performance or audition.
This class is open to all who are curious to play and explore, from actors, to directors and all creatives.
On the final day of the workshop, we will have an open class to showcase scenes and work discovered over the masterclass for the viewing pleasure of an audience.
Students Outcomes:
A sense of self and the importance of you and your unique self in any work
Effortless easy playing
Giving an understanding of how theatrical clown work is an integral part of actor training and how what is learnt through clown work can be applied in scene work
Improvisation : holding the openness and complicité with each other found in games and threading this through to improvisation
Text work : monologues and scene work – holding the open complicité found in games and improvisations and threading this through to text work
Establishing excellent complicité with scene partners and audience even over Zoom