Moving into Performance: Cultivating Presence for Performance and Teaching

  • Moving into Performance: Cultivating Presence for Performance and Teaching
    Photo credit: Val Adamson
  • Moving into Performance: Cultivating Presence for Performance and Teaching
  • Moving into Performance: Cultivating Presence for Performance and Teaching
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About this course

Duration

5 days

Term Start

Monday 13 July to Friday 17 July 2020

This masterclass is ideal for a wide range of practitioners who want to deepen their practice as actors, singers, performers, dancers, writers, musicians and teachers. Underpinned by the principles of the Alexander Technique each participant is invited to focus on the holistic understanding of themselves as individuals and practitioners.

Seeing the world move, sensing our own movement and letting go of what restrains us from thinking, feeling and moving freely and performing and presenting with connection, attention and presence . This workshop will offer principles, exercises and experiential participation to encourage us to “wake up” to the present moment and to our strength, awareness and pleasure in acting, singing, teaching, dancing. A particular focus will be on observing the flow of our attention so we can develop a consistent quality of connection with ourselves as performers and pedagogues.

The masterclass is deeply informed by Niamh and Lucia’s training as movement practitioners and teachers of the Alexander Technique and also influenced by their training in Non Violent Communication and Constellations.


This masterclass is ideal for:

  • Creative Practitioners
  • Performers
  • Teachers
  • Movement directors
  • Teachers of Alexander Technique
  • Actors
  • Dancers
  • Musicians
  • Singers
  • Directors

 

" What's the easiest, most efficient and effective way to move? Lucia Walker knows and can teach you! Working with Lucia, a gifted and dedicated teacher of the Alexander Technique, will improve your performance in all areas of life."
Michael J. Gelb, author of Body Learning: An Introduction to the Alexander Technique and How to Think Like Leonardo Da Vinci

" I've  stored stuff in my pockets, on my body, in my brain, in my eye sockets even for now and later. Still so much work to do but I feel equipped!”
Facilitators workshop 2018

“I have been deeply touched by your workshop and my approach to my work has transformed for ever. The things you have taught me have been invaluable and inspirational and words cannot begin to express the effect your workshop has had on me, both physically, emotionally and my outlook in the world.“
Workshop participant 2017

“I have unleashed my true bacchic spirit and it won't be subdued anymore. I feel somehow transformed in that way, freed! It was an awesome experience and has helped me realise my own blocks as an actor and teacher.“
Workshop participant 2018


Why choose this course?

  • This is a unique opportunity to work with two international teachers with a shared holistic approach to education and performance training
     
  • Deepen your skills as a performer
     
  • Gain new skills as director, teacher and movement director
     
  • Have opportunity for individual as well as group work  
     
  • Move, release, play and reconnect with the joy and freedom of movement

Fee and Application Information

How to Apply

Course cost:
£550 early bird (ends Monday 13 April) or £625 full fee

Accommodation:
£300 for 7 night booking (Sunday 12 – Saturday 18 July)
 

If you have any questions  about this course, please email summer@bruford.ac.uk

Terms and Conditions

  • The College reserves the right to amend, withdraw or cancel any course. If the College cancels a course you have booked onto your fee will be fully refunded;
     
  • All courses are subject to a minimum number of students and will not be guaranteed until this number is reached;
     
  • The College reserves the right to refuse admission on to any of our programmes;
     
  • It is strongly recommended that all students insure themselves to cover the loss of fees or travel costs in the event of cancellation, illness or travel problems, for which the College cannot accept any liability;
     
  • Fees are non-returnable once a student has started the course;
     
  • All fees must be paid in full prior to the start of the course;
     
  • Full fees will be refunded for cancellations within two weeks of booking;
     
  • In the event of a cancellation after two weeks from the booking date, a sum of £100 will be retained to cover administration costs;
     
  • The College does not offer deferments for courses not attended.

Course content

This workshop will identify how the principles of the Alexander Technique can act as an underpinning and are inherent in most if not all of our performances and presentation practices.  But so much more!

The principles of Alexander Technique can act as a framework for the technical training of the performer and teacher in order to release the body, voice and the imagination. This applies to all aspects of performance, presentation and performance training including  acting, movement, voice, singing, musicians and physical performance.

Participants will take part in group classes within which there will also be the opportunity for individual performance or presentation work

The principles of the Alexander Technique focus on use and direction and provide a framework within which spontaneity and freedom are aligned in a focused and open body and voice which is fully prepared to respond: a body in a state of alertness and readiness to react; the body and voice of an alive, vibrant, versatile, flexible, physically and emotionally connected performer who is ready to use the appropriate amount of tension for the task in hand.

How do we set up the conditions for the ultimate stage in the process is the release and embodiment of the imagination, which acts as an interpretative and creative source of inspiration for the performer and facilitator.

As teachers we move between the conscious and unconscious use of language with different levels of awareness of their impact. Ideas and images are transformed into movement through a process of ‘ideokinesis’ (Todd, 1975) : how you think your body works changes how your body works.  The workshop investigates the conscious use of language to make the invisible visible, in particular the metaphorical as a way to reach the subconscious. This begins to consider the profound impact of our language on those we teach.

 

Tutor profiles

 

Niamh Dowling is Head of School of Performance at Rose Bruford College of Theatre and Performance in London. With an MA from Goldsmiths College, Niamh trained initially with Monika Pagneux in Paris, Anne Bogart, Nancy Topf and Eva Karczag in New York and subsequently as a teacher of the Alexander Technique at Fellside with Don Burton. She collaborated closely with Teatr Piesn Kozla and Anna Zubrzycki in Poland for over fifteen years. Over the past six years Niamh has been training in Systemic Constellations which has deeply influenced her practice and supported her holistic approach to education and performance training.  Her specialism is in movement for actors and performers and she has developed a unique approach to teaching movement to a range of performers including actors, dancers, singers and musicians. Niamh is one of the practitioners on the online Routledge Performance Archive. https://www.routledgeperformancearchive.com

 



Lucia Walker
 has 30 years of experience of teaching AT internationally to both individuals and groups. She works with a wide range of people including young people, people with chronic illness, professional musicians and singers. She is also a movement artist and teacher specializing in improvisation and finding ways to fully enjoy moving and to be fully present in the moment of performance. Enjoyment of the sense of vitality and well-being that arose from learning Alexander Technique, and a desire to support people to be more fully themselves and to express themselves more easily in their chosen life activities, stimulated Lucia to train as a teacher. Working with performers is a particular interest and she works regularly with classical musicians, singers, actors and dancers.

She continues to work as an independent dance teacher and performer teaching and collaborating in dance, physical theatre, communication and movement research projects.(Forgotten Angle Theatre Collaborative, and Flatfoot Dance Company,South Africa) These include creative and movement expression for those with terminal illness, teaching for professional dancers and actors, and solo performance work

She is particularly interested in the way movement exploration, awareness practices and play can provide both a method of self-care and a ‘common language’ which lies beneath different cultural experiences and styles of performance.

 

Photo credit: Val Adamson


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