Imalis Core Sessions
Open Sessions - Voice and Energy-Body of the Ancient Actor:
exploring tone, tongue and inner action in the Orestes of Euripides

INSTRUCTORS:
A laboratory-workshop led by
Vasilios Arabos and Dimitris Lekkas,
with guest interventions by
Kostas Papachristodoulou (solmization and psaltic)
Musicians: TBA percussion, strings and wind

COSTS:
House of Neuses is a non-profit organization which only accepts charitable donations. While we organize one meal per day and book lodging arrangements for our guests, these are payed directly by us to all vendors. Per 6-day Session:

Expenses (lodging, food, teachers): €200.00 - €230.00. Lodging is shared occupancy. Food is one midday meal, shared. Transport is from the town to the Great Amphitheater and back.

Please register early as spaces are limited.

DATES:
Session 1: June 26th—July 1rst, 2012
Session 2: July 21rst—July 25th, 2012
Sessions 3 & 4: September 2nd—September 7th & September 9th—September 14th, 2012.

DURATION: 7h/day over 6 days

Donation (suggested): € 90.00 please bear in mind that we are a non-profit and larger donations are welcome. We can provide pertinent invoicing/receipts for tax purposes.

For more information please register by clicking the link below. Please indicate any special requirements in your registration.

DESCRIPTION 
These are the internal working sessions of Imalis' ensemble. The working sessions are the meeting times in which company members develop Imalis' approach to the Ancient Tradition and are paced throughout the workshop season in a manner that helps us integrate experiences accumulated over the course of the laboratory workshops led by the master instructors. Highly synthetic and collaborative, the work sessions are a unique event in the world of the contemporary practice of Ancient Greek Theatre. They are designed to condition the ensemble members (and our guests) to the formal & physical demands of ancient solfege and prosody, spatial awareness, sensory work and inner action (Stanislavski-Chekhov-Vakhtangov-Grotowski).  The sessions explore the ties linking ancient and contemporary practices on a systemic level and train ensemble members in the ancient techniques of hypotyposes and enargeia among others which constitute the core of Imalis' unique research. Our ultimate goal in the sessions is to develop the keys of ancient poetics into an integral performance system in the tradition of Ancient Greek Theater, which we term ethopoetics.

Session 1
is an introduction to native tongue staging. We will focus on the fundamentals of ancient staging and performance practices with emphasis on voice, text and movement basics. These will include: scene study with textual & linguistic breakdown, breath-rhythm principles and vocal release with simplified intonation. RSC, Cheek by Jowl and Drama Center approaches gleaned from our work with Paul Goodwin will be explored and integrated. Simplified chant based on ancient modal scales will also be introduced, as well as basic principles of sensory work and physical action applied to ancient drama.  Inner life and dance approaches developed during the previous Butoh workshop with Atsushi Takenoushi will also be introduced. This session is open to participants of all levels.

Session 2 will recap the fundamentals in a more condensed and focused form serving specific monologue and scene-work choices and the discovery by the performer of the singular tonal-state/energy-stream out of which we will develop the physical actions, dance and movement forms of the role. The specific principles and personal conditioning that lead to the co-arising of the role in its sensory, vocal and physical aspects are the focus of Session 2 with deeper explorations of modal chant, monody and ear training (classic, byzantine & demotic Greek song) as well as more advanced inner life techniques that develop enargeia. This session is recommended for participants with some performance experience.

Session 3 will recap sessions 1 and 2 allowing a deeper exploration of the creative process of ancient performance in search of the vertical dimensions of the role. While all three sessions will have worked toward this therapeutic and spiritual aspect of ancient ethopoetics, the third session will involve a more intense and personal commitment to the performer's connection with the archetypal dimensions of ancient dramaturgy and engagement with techniques of catharsis and work with the five elements. This session is recommended for participants with more advanced training in voice, movement or Stanislavski-based acting.

All three sessions are exploratory exercises in native tongue staging of the Imalis ensemble and constitute preparatory work for demonstrations beginning in 2013. These work sessions are open to external participants wishing to engage with us in different stages of our development process. Ensemble members will aid external participants in assimilating different aspects of our approach. Each session integrates all previous work to date including workshops led by external teachers.
DESCRIPTION 
These are the internal working sessions of Imalis' ensemble. The working sessions are the meeting times in which company members develop Imalis' approach to the Ancient Tradition and are paced throughout the workshop season in a manner that helps us integrate experiences accumulated over the course of the laboratory workshops led by the master instructors. Highly synthetic and collaborative, the work sessions are a unique event in the world of the contemporary practice of Ancient Greek Theatre. They are designed to condition the ensemble members (and our guests) to the formal & physical demands of ancient solfege and prosody, spatial awareness, sensory work and inner action (Stanislavski-Chekhov-Vakhtangov-Grotowski).  The sessions explore the ties linking ancient and contemporary practices on a systemic level and train ensemble members in the ancient techniques of hypotyposes and enargeia among others which constitute the core of Imalis' unique research. Our ultimate goal in the sessions is to develop the keys of ancient poetics into an integral performance system in the tradition of Ancient Greek Theater, which we term ethopoetics.

Session 1
is an introduction to native tongue staging. We will focus on the fundamentals of ancient staging and performance practices with emphasis on voice, text and movement basics. These will include: scene study with textual & linguistic breakdown, breath-rhythm principles and vocal release with simplified intonation. RSC, Cheek by Jowl and Drama Center approaches gleaned from our work with Paul Goodwin will be explored and integrated. Simplified chant based on ancient modal scales will also be introduced, as well as basic principles of sensory work and physical action applied to ancient drama.  Inner life and dance approaches developed during the previous Butoh workshop with Atsushi Takenoushi will also be introduced. This session is open to participants of all levels.

Session 2 will recap the fundamentals in a more condensed and focused form serving specific monologue and scene-work choices and the discovery by the performer of the singular tonal-state/energy-stream out of which we will develop the physical actions, dance and movement forms of the role. The specific principles and personal conditioning that lead to the co-arising of the role in its sensory, vocal and physical aspects are the focus of Session 2 with deeper explorations of modal chant, monody and ear training (classic, byzantine & demotic Greek song) as well as more advanced inner life techniques that develop enargeia. This session is recommended for participants with some performance experience.

Session 3 will recap sessions 1 and 2 allowing a deeper exploration of the creative process of ancient performance in search of the vertical dimensions of the role. While all three sessions will have worked toward this therapeutic and spiritual aspect of ancient ethopoetics, the third session will involve a more intense and personal commitment to the performer's connection with the archetypal dimensions of ancient dramaturgy and engagement with techniques of catharsis and work with the five elements. This session is recommended for participants with more advanced training in voice, movement or Stanislavski-based acting.

All three sessions are exploratory exercises in native tongue staging of the Imalis ensemble and constitute preparatory work for demonstrations beginning in 2013. These work sessions are open to external participants wishing to engage with us in different stages of our development process. Ensemble members will aid external participants in assimilating different aspects of our approach. Each session integrates all previous work to date including workshops led by external teachers.


DESCRIPTION
The main elements of ancient dramaturgy, ie verse, role and stage, place demands upon the performer that require highly distilled and integrated states of body and mind, originating in a singular energy-stream, or tone at the root of the the performer’s action upon the stage, Aristotle’s praxis spoudaia (πράξις σπουδαία), or Great Action. The performer whose action does not tap this source remains “conventional,” and exposes one to the terrible likelihood of being “swallowed by the whale,” as attested so often in Epidauros. An introduction to Ancient acting and performance techniques based on primary evidence in the textual, mythic and cult traditions of the Ancient stage are used, revealing a close affinity to techniques derived from the Stanislavski tradition, Chekhov and Grotowski. 

The first goal of this two-week Laboratory Workshop will be to identify the specific demands set by the ancient dramaturges and match these to vocal, sensory and physical disciplines for the conditioning of the actor’s instrument. Thus the first week will introduce the participants to the art of verbal articulation and phonation known as prosody and its use in the devising of an authentic performance score. To facilitate us in this, the original poetic text in Ancient Greek of the chosen monologues will be translated and broken down into their fundamental phonetic components so that the text may be dealt with as a precise sequence of breath, sound and action, accessible to all regardless of linguistic origin.

Vasilis Arabos and Dimitris Lekkas will lead the participants through an array of textual and linguistic approaches that will reveal the simplicity and beauty of the specific embodiments implied by the keys of ancient poetics. These will include explorations in breath-rhythm and an introduction to intonation in the modal scales, out of which we will develop the actor’s organic processes for the arousal and use of the energy stream as the basis of all physical and vocal action in space. Integrating exercises in vocal release, sensory work and more, these processes will also constitute the culmination of our daily warm-up routine as preparation for work on the role with which the first week will conclude. The second goal will thus be completed with the participants’ discovery of ancient stage practice as an art-form whose primary matter is what we term “sono-poetic” space: an integration of sound, space and word within which emerges the inner life of the role.

Dimitris Lekkas with Kostas Papachristodoulou will lead us through a unique program developed by our ensemble in ear-training, solmization and ancient solfège. The first week includes a four-day intensive over the course of which we will sing together and use religious chant drawn from the Greek orthodox psaltic and byzantine traditions, as well as epic song drawn from the demotic Greek repertoire. This will be a practical and empirical familiarization with the tonal and rhythmic systems of Ancient Greek Theater for the participant, the second goal of this workshop. Live musicians (percussion, strings, wind) will support our work throughout in the execution of repertoire pieces as well as original compositions and reconstructions of Ancient Hellenic Music from Dimitris.