Catastrofi

The seminar was addressed to all artists seeking the opportunity for professional growth, examining their theatrical skills in depth.
The work took place in two different steps lasting 15 days each.

Participants, selected according to their curricula, worked on some short Samuel Beckett’s texts, among which Rockaby, Come and Go – Dramaticule, Cascando, Play and some other works chosen by the teacher to fulfill the didactic and individual needs.
The seminar was structured in a way to use the knowledge acquired during the course, and personal skills, to present a new show to the general public at the end of that experience.
Warm up and group exercises

E’ il corpo dell’attore che crea lo spazio scenico esplorandolo, lo occupa incarnandolo, lo anima
simbolizzandolo.” (A. Simon)

Participants have been guided through a series of exercises to become aware of the body state.
This session has touched the most important aspects of the actor’s training for a performance: we have explored techniques that help making our listening and concentration abilities stronger; besides, we have worked on the vocal emission and we have exercised in gaining control over our body in order to increase all the creative resources.

Text analyses and improvisation
Non ho intenzione di prendere posizione. C’è una frase stupenda in S. Agostino: ‘Non disperare: uno dei ladroni fu salvato. Non ti illudere: uno dei ladroni fu salvato.’ Questa frase ha una forma stupenda. Ed è la forma che conta.” (S. Beckett)

The text has been read in the wise of a score. Precision and rhythm are the starting points of the actor’s approach to the text reality. The topic of the text has been analysed in depth by individuals or by little groups. Improvisation, that takes place just when the actor has a perfect knowledge of his part, aims at the creative process starting in a shielded space, guiding him to the truth, an essential element for the form to come alive.

Interpretation and staging
Il personaggio è forse un vero prigioniero che recita il proprio ruolo, o forse un attore professionista. Non si sa. Non si saprà… La testa dell’uomo si immerge di nuovo nel buio e nel silenzio. Ecce Homo. Ecco l’attore, ecco il personaggio.” (da A. Simenon riguardo alla messa in scena di “Catastrofe”).
Beckett’s theatre is impossible to interpret. The story takes place from the character’s bodily state, giving the authenticity needed to touch the spectator’s imagination and sensitivity.
Every attempt to play the subtext makes the action static. In Beckett’s works gestures and lines come together, by “lines” is meant the state of the present expression.
This work sets the right condition in which the actor can find the link between speech and the authenticity of character’s body-position.
It is both an appropriation and emptying work made with great precision. Once the actor has found this link, he can strengthen the process and act.