Our methodology includes a continuous alternation between the learning blocks in order to apply skills learned in one block directly to another block and to generate a transversal knowledge of the different skills. All blocks are being studied throughout the year and being taught by all the teachers.
Description of the blocks of study:
In the technical part of the class, we study all those elements, which allow us to control our body and its expression: physical articulation, balance, weight placement during the action, orientation in the space, rhythms and qualities of movement, corporal sentences, movements of contradiction, translation and compensation, descents, walks (as well as the combination of these different elements).
The aim is to increase the physical vocabulary of each student, to stimulate his/her imagination, open new physical possibilities and provide him/her with the means to successfully develop stage work, individually and collectively.
We work on improvisation in different ways, investigating alone, in a duet or in a group: starting from a dramatic situation, from a technical rule as a starting point to explore a movement, or by giving an open space to draw a physical portrait of a feeling or a situation.
The study of improvisation rules develops the sense of play and the listening skills of the students, putting them in a true creative situation. It gives them confidence and an appetite for risk at the time of starting a creation process.
The objectives of the study of improvisation are:
- To facilitate the integration of technical concepts in an acting situation, experimenting or developing a dramatic situation.
- To understand the necessary conditions to create a stage situation: what are the physical conditions, the implication, the risk, the listening skills and awareness that allow the creation of a “theatrical moment”.
- To work on the creative flexibility of the performer, qualities of adaptation and integration of the present moment on stage.
Thanks to the study of pieces and figures of the repertoire, the student works on the connection between technique and interpretation, and advances towards a knowledge and deeper understanding of the dramatic corporeal mime.
As for any other art, the repertoire is an essential point of support for the artistic path of the student.
The pieces and figures are studied all year long and lead to regular presentations inside the school.
The objective of the study of classical and modern repertoire is to put the student in a situat
ion of interpretation facing a complex physical writing.
Composition gathers the study of creation principles, which help the student organising and developing his/her creative devising processes, whether solo, in duo or in a group.
It is a vast field, which embraces the following elements:
- Composition of a physical sentence
- Dramatic articulation
- Combination of various stage elements (text, music, etc.)
- Relations in the space and causalities
- Rules of transposition of an action
- Metaphoric movement
- Use of propos and costumes
- Dramaturgy principles
- Study of transposition
The objective is to stimulate the creativity of each student and to widen his/her field of knowledge of all the aspects of a devising process.
As a complement to the corporeal training, the school offers a vocal training and work on text directed by teachers of the school and/or invited teachers. Theses voice sessions’ objectives are to offer an initiation the problematic of relations between voice and movement on one side, and between text and action on the other.
End of year performance:
During the third term, and intensively in the month of June, the work of the school turns towards the creation of a show, which allows the practical application and the understanding with hindsight of the principles and elements studied during the year.
In the case of levels 1 and 2, the show is directed by the Moveo teachers. For level 3, the students create in an autonomous way supervised by one teacher.
The show can be done in different ways; from the physical adaptation of a literary work or film to the devising of a show starting from physical investigations, creating also the text.
Practical and/or theoretical specialised seminaries:
The training is completed by theoretical sessions related to corporeal mime and debates, which allow the student to reflect on and to understand his/her learning process.
Different seminaries and master classes are also programmed, all related to the body and/or theatre in general, with the objective of opening a door on other disciplines and offer Tools to develop one’s own personal and professional experience.
Invited teachers: Andrés Corchero – Dance; Lluís Graells - Commedia dell'arte; Lali Ayguade – Contemporary dance; Monica Giacomin – Pilates; Renee Baker – Theatre of objects I & II; Danel Aser – Acting in front of the camera; Roberto Romei – Biomechanics; Tino Carreño – Production; Anne Dennis - Etienne Decroux technique; Domenico Santo – Street theatre; Joan Cusó – Pantomime; Maria Campos – Dance and contact improvisation; Anna Estrada - Voice (Fitzmaurice technique); Elisabeth Castells – scenography.