YEAR COURSE - Spring term / April-June
The Spring Course is made up of three different subjects which follow the stream of Philippe Gaulier’s pedagogy. This programme is a challenge course.
Character ( 4 weeks ) Creation of your own Character. It is such a fun journey to discover the character. Does the character have family? Lovers? etc. etc. The story will follow him (or her).
Shakespeare and Chekhov( 4 weeks ) Such a fun challenge to work for a great writers’ beautiful text . These masters show us the beautiful rhythm of play.
Clowns ( 4 weeks ) You arrive at the final class. Philippe Gaulier is well know as a Clowns master. He wanted to be a tragic actor when he was a student. One day in the class, when he started to act in a tragedic role, all the class were laughing so hard. This is how he discoverd he is clown . He always says, “If you want to understand the poetry of an idiot, it is a long journey. It is very important to know how you will be loved by audience.”
2 classes will be hold everyday Monday to Friday
Group A / Morning class: 10:30-14:30
Movement class 10:30-12:00 Improvisation class: 12:30-14:30
Character + Clowns
Group W / Afternoon class: 13:30-17:30
Movement class 13:30-15:00 Improvisation class: 15:30-17:30
Shakespeare and Chekhov + Clowns
Full Set Course
Movement class 10:30-12:00, Improvisation class: 12:30-14:30, Break ( one hour), Improvisation class: 15:30-17:30
Character +Shakespeare & Chekhov + Clowns
During the first 4 weeks, two different courses will be held- one in the morning and one in the afternoon.
Students can chooses Character? or Shakespeare & Chekhov ? or both? If you would like to take both classes, that is absolutely possible.
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 35 people. Classes may be cancelled if the number of applicants is less than 20 people.
Character workshop was created, why?
Because the students always play too much, so much that they lose their aura, their charm, their soul. I will give to each student a costume to dress up in before class. We will improvise. We will play scenes. We will write for him or her. They’ll have three weeks to discover which characters their desire carries them towards, and to discover that playing means giving what the audience needs in order to continue dreaming about the character, not an ounce more that this. An ounce more would break the charm and everything would fall back onto the ground again in reality, in a thousand pieces.
The time has come for the student to give to Shakespeare and Chekhov his pleasure in playing, in playing not the character but with his partner (Complicity, pleasure, jokes) .
It is time to give to Shakespeare and Chekhov one’s great humanity, one’s charm, one’s colourful language, one’s life, one’s blood, and to imagine these men saying :
‘‘You have, Mr. Actor, given the most beautiful things in your life to my theatre, just as I gave the most beautiful things in mine to the music of my words. Thank you.”
A good actor collaborates with his friends the authors, a bad one imagines he is the servant of these eminent men.
For a number of reasons, the clown is placed at the end of all these experiments with play. Why? Finding one’s own clown, in other words a unique idiotic character, is an important moment in a student’s life. It’s good to do this when everybody knows each other, likes each other and it helps when everybody is ready to let idiotic, silly, mad things burst out because the pleasure of being together has been great. The second reason: the way in which the clown plays is very special. He uses not only his normal virtuosity as an actor, but also the frequent appearance of a playmate: the flop.
In my school, we call him Mr. Flop, because we treat him with a hell of a lot of respect. It is funny that playing with Mr. Flop happens after many many other flops that weren’t at all deliberate, that weren’t playmates. Then, Mr. Flop says to the clown: salvage what you can. So the clown lets the audience see the great delight of a child who wants to stay on the stage, and who lets out a very special yell. We carry on loving him. He has saved the show.
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.