Devised Theatre and Performance

Welcome

Dear Reader

 

Thank you for your interest in our 1-year postgraduate program in Devised Theatre and Performance. This brochure will give you a more detailed insight into our pedagogy for artists in the field of the performing arts, interested in becoming creators of their own work, whether in collaboration with fellow artists or on their own. Our unique approach combines a strongly movement based pedagogy rooted in the teachings of Jacques Lecoq with rich academic research possibilities, an exploration of new group and leadership models with an intense devising practice and aims at the development of each students creative autonomy as well as the emergence of the collaborative ensemble.

 

The program addresses practitioners with an already existing background in theatre and performance, whether as actors, performers, dancers, choreographers, writers, directors, composers, visual artists and architects interested in the moving body as a point of departure for the creation of new theatre and performance worlds. Our aim is to increase their competences in the field of devised theatre and performance in the stimulating environment of an international training and research centre, which combines the vision of a holistic teaching philosophy with the creative research of a performance laboratory.  

 

Our students come from around the world, are passionate seekers, open for the Unknown and willing to challenge themselves. They are interested in learning from the cultural diversity within the international environment of the school, willing to engage fully in the collaborative aspects of the program and excited by the prospect of working with a high level of autonomy.

 

In case you would like to to get to know us and our work more personally before you decide to join one of our full time programs, then come and visit us. Whether you would like to participate in one of our introduction workshops,  watch a presentation, talk to one of our students or do all of this during a short stay with us in Berlin, just let us know. We’ll be happy to welcome you at arthaus.berlin.

 

With best wishes,

the arthaus.berlin team

Program Structure

The program runs over 3 terms with a total of 32 weeks of training.

 

The first term runs over 12 weeks from the end of September to mid December and introduces the students to the cornerstones of our movement based pedagogy for devising artists. It aims to stimulate body awareness, physical playfulness and the students poetic imagination.

Themes during the first term are the clown state, playfulness and folie; the Neutral Mask as an introduction to the Mythic Body; architecture, music, painting and poetry as an introduction to the Poetic Body; the creation of your artistic manifesto; group process, reflective practice, body awareness practice.

The second term runs as well over 12 weeks from early January to the end of March and offers the students the possibility to explore the worlds of physical theatre and its particular movement based languages. The aim is always to develop an understanding of the fundamental movement dynamics, which shape our life experience, before going beyond the already existing in order to create one’s own performative language.

Themes during the second term are the exploration of larval masks, expressive masks, animal studies, character creation, and a deeper exploration of dramatic as well as comical structures. Group process, reflective practice and body awareness practice continue to support the pedagogical journey.

 

 

The third term runs over 8 weeks  from mid April to mid June and offers the students the opportunity to create performance projects based on intense field research over a longer period of time. The projects will be shared with an audience at the end of the term.

 

The program wishes to enable you to to manage creatively the complexities of theatre making within the framework of an ensemble or alone.

Students have approximately 30 hours of training each week from Monday to Friday. Occasional weekend workshops complement the curriculum.

Program Components

The program is build around 6 different fields of practice :

 

Body Awareness 

- read more

The practice of Body Awareness incorporates components such as Alexander Technique, movement and contemporary dance improvisations and voice as an exploration of one’s own human-animal voice through sound, text and storytelling.These approaches help to gain access to body-based learning paths. The practice stimulates listening and looking for ways to tap into deep creative resources, waking up the students expressive instincts and their physical, vocal and spatial awareness.

- show less

Performance Research 

- read more

Performance Research aims to foster critical analysis of the work students do in the program. Through a cross-disciplinary approach ( discussions groups, movement laboratory and project work ), students are exposed to the world of performance from a diversity of perspectives ( historical, socio-political, aesthetical, philosophical ). In addition, students will explore the writings of major theater makers of the 20th century and their implications and influences in the field of the performing arts.

- show less

Reflective Practice 

- read more

Reflective Practice offers the students the possibility to develop ways of reflecting on their personal and creative process through non verbal approaches such as painting and drawing. The practice aims to invite an embodiment of that part of one’s own journey as an artist, which is non-linear, chaotic and beyond intellectual understanding. It also opens possible new pathways towards  more embodied forms of documentation of creative processes for the public.

- show less

Ensemble Process 

- read more

Ensemble Process wishes to prepare the students for the challenges of collaborating in a devising group. Finding one’s own rhythm or the rhythm of a group, accepting those moments, when we lose our rhythm, developing a clearer sense of those expectations and patterns of behaviour, which don’t allow us to be in contact with ourselves and others. Through playful Rhythm Work, Ensemble Singing and Group Process exercises students are encouraged to develop a practice, which helps them to develop those skills, which are essential in order to create the right conditions for the functioning of a collaborative ensemble.

- show less

Practice of Embodiment 

- read more

The practice of Embodiment offers the students a movement based, playful and  poetic approach, which explores the relationship of the human body with the worlds around and within. Regular improvisation sessions invite the students to foster a dialogue between their imagination and their moving body, movement analysis classes deepen an understanding for the connection between movement and creation. The aim of this practice is the emergence of a writing process from the body, which leads the students beyond the Known towards a deeply embodied creative autonomy.

- show less

Collaborative Devising 

- read more

Each day students spend time in the working studios to devise in collaboration with each other. This practice has the character of a laboratory, where the students test and try ideas, which they will then present at the end of each week. They will receive feedback from the teaching team as well as from their peers. Progressively the research and devising time will increase and leads to longer projects, which then will be shared with an invited audience.

- show less

Application

Please send the following materials to the school via email

 

Completed Application Form  (Download PDF / Download docx)

 

Statement of Interest

We would like to know more about your interest in the course. Please send us a scan of a hand-written letter of motivation explaining why you would like to study at arthaus.berlin.

 

Curriculum Vitae

Please give us an insight into your education, artistic training, theatrical experience and other fields of interest. Be sure to include complete contact information, your date of birth, and your nationality/passport country in your CV.

 

Letter of Recommendation

Please include a scan of one original letter of recommendation from a former teacher, director or training institute. No faxed copies or emailed letters will be accepted.

 

Evidence of Qualifications

Enclose scanned copies of relevant degrees, certificates or transcripts.

 

Financial Statement

Please include a comprehensive financial statement explaining how you intend to pay for both the training and your costs of living in Berlin. Include scanned bank statements where appropriate. If funded or supported by a relative, include a scan of a statement signed by them, along with their full contact details.

 

Photo

Please include one recent photo of yourself – a passport photo is sufficient.

 

For any clarification about the application process don’t hesitate to

 

 

Welcome

Dear Reader

 

Thank you for your interest in our 1-year postgraduate program in Devised Theatre and Performance. This brochure will give you a more detailed insight into our pedagogy for artists in the field of the performing arts, interested in becoming creators of their own work, whether in collaboration with fellow artists or on their own. Our unique approach combines a strongly movement based pedagogy rooted in the teachings of Jacques Lecoq with rich academic research possibilities, an exploration of new group and leadership models with an intense devising practice and aims at the development of each students creative autonomy as well as the emergence of the collaborative ensemble.

 

The program addresses practitioners with an already existing background in theatre and performance, whether as actors, performers, dancers, choreographers, writers, directors, composers, visual artists and architects interested in the moving body as a point of departure for the creation of new theatre and performance worlds. Our aim is to increase their competences in the field of devised theatre and performance in the stimulating environment of an international training and research centre, which combines the vision of a holistic teaching philosophy with the creative research of a performance laboratory.  

 

Our students come from around the world, are passionate seekers, open for the Unknown and willing to challenge themselves. They are interested in learning from the cultural diversity within the international environment of the school, willing to engage fully in the collaborative aspects of the program and excited by the prospect of working with a high level of autonomy.

 

In case you would like to to get to know us and our work more personally before you decide to join one of our full time programs, then come and visit us. Whether you would like to participate in one of our introduction workshops,  watch a presentation, talk to one of our students or do all of this during a short stay with us in Berlin, just let us know. We’ll be happy to welcome you at arthaus.berlin.

 

With best wishes,

the arthaus.berlin team

Joana Barbosa narrow

Program Structure

The program runs over 3 terms with a total of 32 weeks of training.

 

The first term runs over 12 weeks from the end of September to mid December and introduces the students to the cornerstones of our movement based pedagogy for devising artists. It aims to stimulate body awareness, physical playfulness and the students poetic imagination.

Themes during the first term are the clown state, playfulness and folie; the Neutral Mask as an introduction to the Mythic Body; architecture, music, painting and poetry as an introduction to the Poetic Body; the creation of your artistic manifesto; group process, reflective practice, body awareness practice.

The second term runs as well over 12 weeks from early January to the end of March and offers the students the possibility to explore the worlds of physical theatre and its particular movement based languages. The aim is always to develop an understanding of the fundamental movement dynamics, which shape our life experience, before going beyond the already existing in order to create one’s own performative language.

Themes during the second term are the exploration of larval masks, expressive masks, animal studies, character creation, and a deeper exploration of dramatic as well as comical structures. Group process, reflective practice and body awareness practice continue to support the pedagogical journey.

 

 

The third term runs over 8 weeks  from mid April to mid June and offers the students the opportunity to create performance projects based on intense field research over a longer period of time. The projects will be shared with an audience at the end of the term.

 

The program wishes to enable you to to manage creatively the complexities of theatre making within the framework of an ensemble or alone.

Students have approximately 30 hours of training each week from Monday to Friday. Occasional weekend workshops complement the curriculum.

Alessandra Fel 3 narrow

Program Components

The program is build around 6 different fields of practice :

 

Body Awareness 

- read more

The practice of Body Awareness incorporates components such as Alexander Technique, movement and contemporary dance improvisations and voice as an exploration of one’s own human-animal voice through sound, text and storytelling.These approaches help to gain access to body-based learning paths. The practice stimulates listening and looking for ways to tap into deep creative resources, waking up the students expressive instincts and their physical, vocal and spatial awareness.

- show less

Performance Research 

- read more

Performance Research aims to foster critical analysis of the work students do in the program. Through a cross-disciplinary approach ( discussions groups, movement laboratory and project work ), students are exposed to the world of performance from a diversity of perspectives ( historical, socio-political, aesthetical, philosophical ). In addition, students will explore the writings of major theater makers of the 20th century and their implications and influences in the field of the performing arts.

- show less

Reflective Practice 

- read more

Reflective Practice offers the students the possibility to develop ways of reflecting on their personal and creative process through non verbal approaches such as painting and drawing. The practice aims to invite an embodiment of that part of one’s own journey as an artist, which is non-linear, chaotic and beyond intellectual understanding. It also opens possible new pathways towards  more embodied forms of documentation of creative processes for the public.

- show less

Ensemble Process 

- read more

Ensemble Process wishes to prepare the students for the challenges of collaborating in a devising group. Finding one’s own rhythm or the rhythm of a group, accepting those moments, when we lose our rhythm, developing a clearer sense of those expectations and patterns of behaviour, which don’t allow us to be in contact with ourselves and others. Through playful Rhythm Work, Ensemble Singing and Group Process exercises students are encouraged to develop a practice, which helps them to develop those skills, which are essential in order to create the right conditions for the functioning of a collaborative ensemble.

- show less

Practice of Embodiment 

- read more

The practice of Embodiment offers the students a movement based, playful and  poetic approach, which explores the relationship of the human body with the worlds around and within. Regular improvisation sessions invite the students to foster a dialogue between their imagination and their moving body, movement analysis classes deepen an understanding for the connection between movement and creation. The aim of this practice is the emergence of a writing process from the body, which leads the students beyond the Known towards a deeply embodied creative autonomy.

- show less

Collaborative Devising 

- read more

Each day students spend time in the working studios to devise in collaboration with each other. This practice has the character of a laboratory, where the students test and try ideas, which they will then present at the end of each week. They will receive feedback from the teaching team as well as from their peers. Progressively the research and devising time will increase and leads to longer projects, which then will be shared with an invited audience.

- show less

StrangeFace Masks narrow

Applications and Auditions

 

Please send the following materials to the school via email

 

Completed Application Form  (Download PDF / Download docx)

 

Statement of Interest

We would like to know more about your interest in the course. Please send us a scan of a hand-written letter of motivation explaining why you would like to study at arthaus.berlin.

 

Curriculum Vitae

Please give us an insight into your education, artistic training, theatrical experience and other fields of interest. Be sure to include complete contact information, your date of birth, and your nationality/passport country in your CV.

 

Letter of Recommendation

Please include a scan of one original letter of recommendation from a former teacher, director or training institute. No faxed copies or emailed letters will be accepted.

 

Evidence of Qualifications

Enclose scanned copies of relevant degrees, certificates or transcripts.

 

Financial Statement

Please include a comprehensive financial statement explaining how you intend to pay for both the training and your costs of living in Berlin. Include scanned bank statements where appropriate. If funded or supported by a relative, include a scan of a statement signed by them, along with their full contact details.

 

Photo

Please include one recent photo of yourself – a passport photo is sufficient.

 

For any clarification about the application process don’t hesitate to