YEAR COURSE - Autumn term / Oct-Dec
The Autumn Course is made up of four different subjects which follow the stream of Philippe Gaulier’s pedagogy. The programme is organised so that the student visits different types of theatre so they can arrive at their own way.
Le Jeu– means GAME, and is the most important lesson from Philippe Gaulier’s teaching method. A course to learn the basics(secrets) of theatre.Everyone needs to pass through this. Comedy, tragedy, it doesn’t matter theatre starts here.
Neutral Mask – with Neutral Mask you travel everywhere with the imagination. It is a great journey to discover your aura. Neutral masks are expressionless masks, but as soon as the actor gives them rhythm and movement, they start to come alive and bring the audience somewhere mysterious. This class is also a very important basic lesson.
After Le Jeu (4 weeks), Neutral Mask (3 weeks), students can choose to do the Greek Tragedy class or the Feydeau-Vaudeville class.
What you discover in Neutral Mask will help you to go far, either the Tragedic way? or the Comical way? or both?
Greek Tragedy makes you discover how you could be tall and strong .
“A Hero receives destiny on his head !”
Feydeau-Vaudeville is a classic French comedy and it helps you discover how you could be light.
“Panache!” Vaudeville actors are very light and elegant. Both men and women are captivated by their charm.
Classes will be hold Monday to Friday.
Group A / Morning class: 9:30-13:30
Movement class 9:30-11:00 Improvisation class: 11:30-13:30
Le Jeu + Neutral Mask + Greek Tragedy
Group W / Afternoon class: 13:00-17:00
Movement class 12:30-14:00 Improvisation class: 15:00-17:00
Le Jeu + Neutral Mask + Feydeau-Vaudeville
Full Set Course
Movement class 9:30-11:00, Improvisation class: 11:30-13:30, Break ( one hour), Improvisation class: 15:00-17:00
Le Jeu + Neutral Mask + Greek Tragedy + Feydeau-Vaudeville
If you are interested in taking both classes, it’s absolutely possible to take both classes at the same time -one in the morning and one in the afternoon.
Students may choose to do one course, a number of courses or to do the whole year – it is up to the student to decide.
You can take any combination of courses, it is not necessary to do a full term or a full year.
The discount price was set up for students doing a full term or seasonal courses.
Philippe Gaulier will teach improvisation class three times a week. The other improvisation classes and all the movement classes will be taught by his assistant.
All our teachers are graduates of our school and are wonderful artists.
This class has a capacity of 30 people. Classes may be cancelled if the number of applicants is less than 20 people.
Discovering the law of theatre is grammar through children’s game. The words used most often during the workshop: pleasure, complicity, humour, impulse, fixed point, beauty. A child who is playing feels pleasure. His or her imagination is turned towards imagined countries where life unfolds without feelings breaking in. Free games lead to the theatre. Unfortunately, the opposite is not true. Too often, theatre leads to rather miserable theorising.
Above all, not making theatre with theatre, but with the pleasure of life, playing, its impulses.
Theatre needs people who bring colossal and unexpected pleasures to acting, not the others, who copy it slavishly.
The questions asked most often during the workshop, Has the child played his role in major or minor? Has he shown us the pleasures which correspond to these situations? Has he entertained us?
The student, having learnt during LE JEU workshop that pleasure leads the dance, goes off into an amagined nature, armed with his Neutral Mask.
No wrinkles. No past. And let me revel to you; earth, sea, air, water, rivers, mountains, animals, matter: from gelatine to steel, the coloues, the light. The Neutral Mask will move them, without the slightest restraint.The Neutral Mask is freer than the person wearing it. It takes him everywhere. It shows him those rythms he knows how to reproduce and those he can’t.
The Neutral Mask gives its freedom to the person wearing it.
Time for Greek Tragedy to make her or his thunderous entrance. Are not her heroes shrouded in an aura unlike any other? Does not their destiny, their perpendicular destiny written above their heads by unjust gods, force them to walk upright and to be big, always big? Because if through inadvertence a god should happen to see a hero lose his stature, he would go straight off and tell the other gods about it. And every god in Olympus would burst out laughing. And the hero would be Fallen for ever.
Being big, walking without losing one’s marvellous aura, displaying a tremendous charm, being happy to have been singled out by the gods and to have had inscribed above one’s head a unique and iniquitous destiny; is not all this the source of extreme pleasure for the hero? And extreme pleasure for the actor?
Greek Tragedy, which is a phenomenal poem, it’s teach us the essential:Beauty. Aura. Fixed Point.
The opposite of Greek Tragedy will be a “Vaudeville”, a play by Feydeau. To laugh! No problems!
Everything there is rich, luxurious, and sumptuous. That the actor, on stage, may not be concerned with the problems of society. That he makes us laugh! That he invents many and peculiar loves. That he forgets his keys in his pants at the house of his ex-mistress! And that it rebounds and rebounds all the way to the conjugal bedroom. Vaudeville is beautiful: therein are astounding intrigues that take us directly to the conjugal bedroom. Vaudeville?