Winter Course Jan-March

The Winter Course is made up of 3 different subjects which follow the stream of Philippe Gaulier’s pedagogy. This course is beginig of creations. At the end of each workshop, students will present their piece of creations. Of course one may apply for as many courses as one wishes or may apply for a single course.

The first 4 weeks, we start with two different courses, it will be hold in the morning and afternoon at the same.

Student can choose Masked Play? or Melodrama? or both? If you are interesting to take both classes, it’s absolutely possible to take both classes at the same time.

Masked Play will teach us what the theatrical effects are that will captivate the audience. The actor must try every possibility to give the mask to be alive. How should we move and what rhythm should we give? One day, if your mask starts to be alive, we try to discover the story of this mask and follow the world of this mask.
This is the beginning of creation.
Melodrama will also teach us what the theatrical effect is from another angle. 1000 fix points, the actor is silent, walks with the noise of shoes, sees something in the sky, sits on the bench, sings in a small voice, etc. The actor’s gestures and pauses, all are effects that draw the audience into the world and must inspire the audience’s imagination. At the end of this workshop will be your self creation of contemporary melodrama.

Bouffons

Classes will be hold everyday Monday to Friday

Group A / Morning class: 9:30-13:30

Movement class 9:30-11:00   Improvisation class: 11:30-13:30

Masked Play + Bouffons

Group W / Afternoon class: 12:30-16:30

Movement class 12:30-14:00   Improvisation class: 14:30-16:30

Melodrama + Bouffons

Full Winter Course

Movement class 9:30-11:00,    Improvisation class: 11:30-13:30,  Break ( one hour), Improvisation class: 14:30-16:30

Masked Play + Melodrama + Bouffons

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Philippe Gaulier will teach improvisation class 3times a week. Rest of  class and Movement class will be tought by his assistant.

All the teachers are graduates of our school and are wonderful artists.

This class has a capacity of 30 people. Classes may be canceled if the number of applicants is less than the specified number (20 people)

Some characters need a costume and make-up to live. The character follows the actor faithfully.Other characters demand costumes and make-up, plus a mask. It’s different. Very different. the mask doesn’t follow. it comes first. The actor follows. Operates it. Manipulates it. A mask gives incomparable impulses. Masks studied: those of the carnival of Basel, of the Commedia dell’Arte, those which the students make.


The time for lightness has arrived. Moliere, and Goldoni will lend their texts to the actors who will have a lot of fun, like the fun we have in Seville the week of feria, late into the night and into the early morning. Here, everything is entertainment, charm, distraction, enjoyment, serenade, nonchalance.

It’s true that playing is a luxury and that one plays better when hunger is not gnawing away at one’s stomach. An actor who played beneath two thousand light projectors without showing in his eye the desire for something useless, extremely useless but very desirable, would not be good. Schools open the atelier and students make their own masks. Students will present short pieces with their own Mask at the end of 4 weeks work.

Melodrama is a form of ideological theatre born in France around the mid-19th century and in which the actors played for all they were worth.

They copiously exaggerated their gestures, spoke in loud, slow voices full of pathos and rolled their ‘r’ s a great deal. They greatly amplified the noise of their shoes and when they stopped moving,  their fixed point lasted a long time,  a very long time. The solemnity of their themes – the poverty of the people, the tubercular prostitute,  the lighthouse keeper who must kill his rabid son etc. – can explain this grandiloquent, bombastic style,  but so too can the lack of material means: the lighting is dim, the audience in the gods rowdy and drunk. They must be subdued at all costs by raising the actor’s voice more and more. The man who has been drinking must be given strong, resistant fixed points in order to help him not lose his balance.

The melodrama actors show an incomparable pleasure in playing and the exaggeration on which they built this style remains today a great lesson in theatre.  Of course,  the themes treated can seem a bit ridiculous but a good melodrama reminds us that around the age of eleven we cried a great deal Reading ‘‘Sans Famille’’ by Hector Malot or ‘‘David Copperfield’’ by Dickens. Those were the good old days! The melo days.

The Bouffon is a crippled out cast, a lame person,  a legless or one-armed cripple,  a dwarf,  a midget,  a whore, a homosexual,  a witch,  a heretical priest,  a madman.  He has not been chosen by the gods.  He has been chased into the swamps and ghettos by the children of god in fact,  who have seized the opportunity to announce that in view of the bouffon’s physical and moral ugliness,  the father could not be a great artist of international fame. So his father was the opposite of God,  his father was the devil Lucifer. The Bouffon was elected son of the devil and he was happy about this.  He was happy to be the son of the first Tempter and of the first women seduced: Eve.

In the Bouffon workshop we learn to be a big person who enjoys being Small, with a special additional pleasure enjoyed by those people: blasphemy.