Short Course - Intensive Master Course

In response to a large number of requests, we decided to hold a one-week or two weeks workshop. This is a short-term intensive course.

Movement class 10:30-12:30,    Improvisation class: 13:00-15:00

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.

This class has a capacity of 35 people. Classes may be cancelled if the number of applicants is less than the specified number (20 people).

In pursuit of the spirit of amusement, with jokes and face masks. How ridiculous would I be with this costume or with that one ? By borrowing this costume or that one?

In pursuit of the humanity of the clown, his movements, his rhythms. The idea of a clown routine is whispered by a nitwit to a numbskull.The numbskull will make a number out of it.

This childish pleasure is like that of one of my sons who when I ask him to go to bed, because it is late and friends are there drinking and having fun around the table, goes off muttering that none of this is fair and he is not tired. Five minutes later he’s back again, hugging the walls, hiding behind the furniture, the curtains. He will pop out soon. He will let out a very special yell and show his great desire to stay. OK – ten minutes but no more.

If the pleasure in staying is great, then the clown is forgiven. He’s allowed to be no good over and over again. If the pleasure is not great, the clown will look like someone ashamed at being no good. He won’t be loved. We’re back to this notion of pleasure which throughout the year will refuse to leave us alone.

This is the most important lesson of Philippe Gaulier. You will learn the base language of theatre, which is very important and beautiful.

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 counries 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?