We are still busy receiving workshop-offers, so the following workshop- list is incomplete by far and will keep changing as we go along (because you make decisions about what will finally take place).
But to get a taste of what will happen, here are some of our workshops for performers:
You can find information on the instructors HERE
The Impro Dojo – Zen and Impro in Practiceconducted by Jun Imai (Japan) and Chris Wells (Japan/USA)
Exploring a link between Eastern thinking and impro noted by Keith Johnstone, this workshop will focus on the ways in which Zen and impro overlap. The importance of being “in the moment” is the foundation of Chris and Jun’s impro and they are excited to share their insights into the ways East and West merge both on stage and off.
Bring the Theatre into Theatresportsconducted by Patti Stiles (Australia)
Keith wanted Theatresports to create a unique form of theatre that engages the audience on all levels. An evening that releases laughter, tears, suspense, screams, and leaves the audience with haunting images, pondering questions, debating topics and feeling good after watching good natured performers.
How we teachconducted by Shawn Kinley (Canada)
Teaching is a personal thing. Like “students”, there is no singular type. Some students need a verbal approach. Others need more physical work. One student is affected visually while another doesn’t seem aware at all. It’s a mistake to believe you are teacher only. In the class you learn every second so that you can respond to the needs of the student/ class/ lesson. The teacher is the ultimate improviser. Learn great awareness, ability to adapt and vulnerability and you may become a teacher that students leave wiser than when they first met you. No experience is necessary, nor a desire to teach. Considering we are all teachers, all the time just by our presence, this is a workshop for all of us.
Diggin’ in for another meconducted by Daniel Orrantia (Colombia)
This short workshop is designed to explore the limits of playfulness pushing the participants into behaving in ways that will surprise them individually and as a group. We will play with the idea that behavior is something you choose rather than something that is imposed on you, and through this idea allow you to redefine who you are and your relationship with the world.
Reinventing Theatresportsconducted by Amy Shostak (Canada)
This workshop will deal with how to innovate within the structure of Theatresports to keep it fresh and exciting without losing the original structure of the format.
Solo scenes – conecting your imagination with you bodyconducted by Felipe Ortiz (Colombia)
Through physical work and creation of images we will explore different ways for being able to travel inside your imagination and visualize for the audience, how we can speak with our body and how important is to be aware of it.
Vulnerability on stageconducted by Helene Abrahamsen (Norway)
In this workshop we will explore being vulnerable and honest on stage. The basic thought is that we don’t have to invent, we just have to discover what is already there. So let us practic being open and present while we improvise so that we can see what is right in front of us and use it.
Maskify Your Improconducted by Steve Jarand (Canada)
Many of Keith’s Impro exercises were developed along side his mask work. In this workshop we explore the substance of Impro at a deeper level. With masks in mind; spontaneity, giving up control, physical transformation and emotion, will be pushed to a new level. We will use costume and partial mask to help release the spirits within.
Dealing with pressureconducted by Frank Totino (Canada)
Fear of failing on stage prevents actors from following through on their own spontaneity and impulses. It causes them to question the ‘validity” of their responses before they express them or allow them to be part of the scenario that is unfolding in the work. The workshop deals directly with the intersection of spontaneity, character and narrative development. The participants will be given a set of tools to apply and integrate into their own methodologies and processes to help them in the building of character and the understanding of how the characters inter-relate to create narrative. When the actor is focussed on these principals, fear dissipates.