Activites


MOVEMENT PSYCHOLOGY

LECTURE – WORKSHOP – SYMPOSIUM

with LIANA NYQUIST (UK/SWE)

(April 12 – 15 2016)

 

 

participants: current CISPA students, alumni, CISPA staff and other industry professionals

Liana Nyquist is a Senior Lecturer of Movement at Drama Centre London/University of the Arts London, a choreographer, movement director and movement coach. She’s trained extensively as a dancer, actor and choreographer (Royal Ballet Academy, Sweden, Drama Centre London, London School of Contemporary Dance), and has taught and directed at innumerable HEIs, theatres and films.

The lecture, workshop and symposium were on Movement Psychology and psycho-physical actor training. The starting point was Laban/Malmgren’s methodology (Movement Psychology & Character Analysis), as developed and interpreted by Liana Nyquist, focusing on the actors’/characters’ relationship to SPACE, the artistic exploration of the off-space as a creative domain, the gateway to the irrational, the imagination, what lies beyond the convention.

In the symposium, Liana, CISPA tutors and students and industry professionals approached Movement Psychology in a wider sense and shared/discussed different experiences, focusses, aims and developments within psycho-physical actor training. 

Tuesday, April 12: LECTURE
Wednesday, April 13: 1st Year WORKSHOP
Thursday, April 14: 2nd + 3rd Year WORKSHOP + SYMPOSIUM
Friday, April 15: 2nd + 3rd Year WORKSHOP

 

All in all, it was a fantastic experience to have Liana teach us Laban/Malmgren. It’s a technique that every CISPA student is very familiar with since we spend a lot of time on it, at the school. However, it was very helpful to hear someone else’s two cents on it, and it was very clear to all of us from the get-go that Liana has been working with it for a small lifetime. She knows the system inside out and has her own points of view on its capabilities and properties. Somehow, she was constantly working with very complex concepts but made them very tangible and structured.

Liana’s terminology was fascinating. It inspired me then and still does – consciously as well as sub-consciously. E.g. according to my notes (and memory), Liana spoke of energy and its connection to everything. In lieu of actually saying The Force, I will sustain to saying that this all-fathoming idea is a helpful and concrete concept that will prove a tool to the actor’s work with him or herself. And for me, Liana kindled these personal understandings. The original intention, the first instigator: energy. Everything comes from it and everything can be created from it. 

I found my meeting with Liana to be just as much a meeting with a force as a meeting with a woman and my time with her, albeit short, extremely valid and informative. Also, some of the physical exercises we did with her, I continue to use. For myself as well as with other actors. I would love to work with her again and hope to get the chance. She is a true rockstar of acting and movement technique.

Simon Raundahl Lembcke 3rd Year Student at CISPA 

 

Liana’s workshop focused on basic techniques used by actors and dancers in their training and career (for example the Laban/Malmgren principles) and consisted of a theoretical lecture and the movement part.

For the most part I found myself (as a 3rd year student) knowing most things she analyzed, since we are taught these techniques throughout the training at CISPA. However, her approachable and fun personality made her ways of explaining and teaching very refreshing, simple, yet to the point; I remember this example she made about how the energy generates and transmits between people and space, where she asked us to start clapping more and more to prove exactly this. It was very obvious and simple, but it made her point perfectly tangible.

The movement part that followed was also quite similar to the school training in the sense that we used movement not only to strengthen the body but to challenge our physical and mental boundaries and explore our creativity as well. Nonetheless, it was my very first contact with some of the exercises she used and for the most part they were highly demanding, required big amounts of discipline and the structure of the class resembled a dance school, more than an acting school. 

To sum it all up, I think that Liana’s workshop complemented beautifully everything the students face every day and the way the teachers operate at the school and I can only say that I would have loved to learn more from her.

Georgina Koutsaimani, 3rd Year student at CISPA 

REFUGEES, MIGRATION, LANGUAGE

Workshop at the Copenhagen International School of Performing Arts

4th March, 2016

Conception: Lars Henning, Rita Sebestyén, Louise Søeborg Ohlsen

Workshop leaders: Lars Henning and Louise Søeborg Ohlsen

Presentation: Rita Sebestyén

Foreigners!

Your clothes are not Greek. Foreign robes of finely woven fabric… covered in gems… nothing like ours!

Where are you all from? No women from Argos or the rest of Greece wears such clothes.

You must be brave, coming here unannounced like this, with no friends and no one to guide you!

Astonishing!

Ah! I see branches on the altars and by your sides. That tells me that you are suppliants and you seek protection from me but that’s all that a Greek can gather from that. I’ll have to make my own assumptions about everything else, unless you tell me in your own words the rest of your story.

(Aeschylus: Suppliant Maidens, transl.: George Theodoridis)

 

Organized by the research program: “Art, Culture and Politics in the ‘Postmigrant Condition’” (funded by FKK/Danish Council for Independent Research) in collaboration with CISPA (Copenhagen International School of Performing Arts), we offered a workshop as a part of Symposium on Language and Migration, which incorporated researchers from different universities in Denmark and independent researchers from Germany within the fields of International Actor Training, Linguistics and Art, Culture and Politics in the Postmigrant condition.

As a continuation of and inspired by the Otherness Dialogues workshop that we held in Miercurea Ciuc/Csíkszereda, RO, in August, 2015, for cultural operators, this workshop aimed to give the participants a body-mind-soul experience of language. We worked with the first play on migration: The Suppliant Maidens by Aeschylus and through this text implicitly experienced both the view point of the migrant and the “settled”.

Through different exercises, starting with the breathing, communicating with organic sound, and de- and reconstructed components of a few lines from the Ancient Greek text, the participants investigated engaging in a dialogue in a totally alien language, where nevertheless the sheer reciprocated effort of trying to bridge the gap to the other through embodied sound and (alien) language brought about moments of wholeness and communion.

Lars Henning, artistic director at CISPA

The base of the workshop for me as a participant from the actor side was a short excerpt of AESCHYLUS’ “SUPPLIANT MAIDENS” in English. As a preparation I learned the text by heart and researched the plot of the play. In contrast to that, we worked on an excerpt in the Ancient Greek original text and language during the workshop, dissecting it from the base of just one word and its individual syllables up to using the whole excerpt in Ancient Greek. One thing that strikes me at the first stage of non- or deconstructed language is that connection with the partner, listening and responding, communication is possible without a common, spoken, language. Or simply just through body language. Be it socially constructed patterns of behaviour or instinctual behaviour patterns.

Moving on through using more and more of the Ancient Greek, even though still not understandable on an intellectual level, it becomes apparent that the sound and body of the language still carry a meaning and emotional depth. There is a certain power and majesty carried through by the way the language begs to be embodied, spoken, regardless of comprehension by the speaker.

Constantin Gindele, 1st year student at CISPA

It is impressive how much language reflects the culture There are some important differences between Greek language and English or Scandinavian languages in the feeling that is created while you speak the words concerning how direct a language is. I have thought about that before, but it became even more obvious during the workshop. Greek is my mother tongue, so I could not be certain if I feel that because I express myself better in Greek or because the language itself is more direct. After having some discussions with other participants I realised that they had the same experience without even knowing exactly the meaning of the phrases. Another difference that I observed is that in Greek it is easier to refer to something without using all the time the object we are referring to, while in English we always have to refer to the object we speak about. This gives more freedom in Greek to create new expressions. Probably, that is why poetry is so different in Greek than in North European and western languages.

In addition, the communication between us (the participants) in an (almost) foreign language was exciting because the body language and the movements were significant in order to have a dialogue. I would love to know more about the concept of otherness as well, since I found it quite important for human and society development from a cultural and psychological point of view.

Lydia Xourafi, assistant researcher at CISPA

When air becomes breath, voice and language  

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Presentation by: Inge Dinesen, M.A. in Voice Studies, coach/therapist

Globally it is a shared human condition that we transform the air we breathe into waves of vocal sound. What separates us is our usage of voice to produce the phonemes that constitute our speech combined with the rules of construction and syntax that make up our languages locally. Our native tongue makes audible differentiating and dividing historical and culturally rooted lines of demarcation.

The teaching practice of speech and drama at an international theatre school (CISPA) necessarily and continuously engages its participants in the exploration of shared languages and forms of expression, aiming at clear scenic representations of meaning. This process potentially clarifies and transcends the invisible borderlines carried in the different languages brought into play by each individual student and teacher.

For a span of more than 35 years Inge has worked with practical methods and research to contribute in an efficient and liberating way to develop vital expressivity of the voice, body and mind.Her career took its departure in training as an actress (the acting school at Odense Teater) and ensuing professional experience as both an actress and a stage director. Later training, MA in Voice studies (Central School of Speech and Drama/University of London), arts- and integral gestalt therapy, has contributed to professional practises of teaching, coaching voice and acting, offering consultancy and integral psychotherapy.

Language & Diversity

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Multilingual Approaches in Contemporary Theatre, Literature and Culture

 

International seminar on 3 March, 2016, 16:00 – 19:00

ABOUT

National and cultural identity is often linked to the use of the speaker’s mother tongue. It is, according to this point of view, often assumed that there exists an uninterrupted identity between language, culture and nationhood. In most recent European literature, theatre and film we see, however, a multiplicity of different languages and language varieties. The highly suggestive concept of the mother tongue – the “monolingual paradigm” – is, in other words, increasingly challenged by a diversity of heterogeneous linguistic “bodily” practices.

This seminar examines contemporary multilinguistic approaches in e.g. literature and theatre. It combines theoretical discussions on the tension between mono- and multilingualism with observations on the practical challenges connected to multilinguistic approaches in e.g. the theater.

 

The seminar is organized by the research program: “Art, Culture and Politics in the ‘Postmigrant Condition’” (funded by FKK/Danish Council for Independent Research) in collaboration with CISPA (Copenhagen International School of Performing Arts). Contact: Moritz Schramm, mosch@sdu.dk

PROGRAM

16.10-16.15: Welcome by Moritz Schramm (University of Southern Denmark, head of the research program “Art, Culture and Politics in the ‘Postmigrant Condition’”)

16.15-16.45: Mirjam Gebauer (Aalborg University): “Beyond the Mother Tongue: Approaches to Multilingualism in Recent German Writing”

16.45-17.15: Azadeh Sharifi (Berlin, Independent Researcher): “Language, Speech acts and Resistance – Postmigrant Theatre and its use of stage language and theatrical speech acts”

17.15-17.45: Coffee break

17.45-18.15: Inge Dinesen (Copenhagen, CISPA): When Air becomes Breath, Voice and Language

18.15-19.00: Open discussion

 

The seminar is in English. All are welcome!

 

Venue: University of Copenhagen, Building 21 (KUA), Karen Blixensvej 1, DK-2300 København S.