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An Italian Wedding - La Mama
An Italian Wedding
Co-Created by Fabio Motta and Kristine Landon-Smith
Nov 21 - Nov 23 | Thurs, Fri, Sat: 7.30pm | Running time 50 mins
Language: Italian (with English open captions)
An Italian Wedding is a headphone verbatim show exploring the themes of identity and belonging through the lens of an Italian wedding.
Researchers have conducted interviews with members of the Italian community and edited the stories into a playlist. Actors listen to the playlist in performance and speak at the same time as they are hearing the stories. This innovative approach allows the actors to capture the authentic voices and stories of Italian communities, spanning different generations and experiences. A moving, poignant and humorous piece of theatre drawn from a collection of unique and distinct narratives from the Italian communities of Melbourne and Italy.
Co-Created by Fabio Motta and Kristine Landon-Smith
Directed by Kristine Landon-Smith
Music composed by Felix Cross
Image by Darren Gill
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The Pleasure to Play Project (Online)
The Pleasure to Play Project (Online)
A workshop in Complicite´, intercultural training, and clown state.
Starts 27 July | $380 Australian dollars | Online via Zoom
The aligned methodologies of Kristine’s practice which teaches actors to play as themselves in order to find complicité and Fabio’s clown state work offers a training that places the performer at the centre of the creative process. Through our shared methodology actors are empowered to find freedom, agency, and authenticity in their work.
This unique workshop forensically examines what the actor needs to do in order to ‘play well’ on-screen, on stage, and at every moment, whether in scene or monologue, in rehearsal, performance or audition.
It will reveal to the actor how to stay present and connected not only with a scene partner but also with the audience. Kristine Landon-Smith and Fabio Motta will take you through a series of games, improvisations, text, and clown exercises that will increase an actor’s sensitivity and awareness of how to experience the pleasure to play well.
The work is based on the principle of bringing one’s authentic self to your work as a performer. The actor is at the heart of the practice, and Kristine and Fabio work with each individual in the collective to encourage a deeper sense of self in both text and clown work. No previous clown training is required. This class is open to all who are curious to play and explore, from actors to directors and all creatives.
Students Outcomes:
A sense of self and the importance of you and your unique self in any work
Effortless easy playing
Giving an understanding of how theatrical clown work is an integral part of actor training and how what is learnt through clown work can be applied in scene work
Improvisation : holding the openness and complicité with each other found in games and threading this through to improvisation
Text work : monologues and scene work – holding the open complicité found in games and improvisations and threading this through to text work
Establishing excellent complicité with scene partners and audience even over Zoom
Forensic understanding of what it is to play well on stage and on screen
A process that will lead to an easing of any nerves or anxieties when performing
You will be assigned scenes during this workshop and gain an understanding of how theatrical clowning and further the exploration of your work as an actor.
Cancellation Policy
REFUND POLICY: 24 hours notice is required for all Private Session bookings. Fail to notify within this time may result in a full fee charged.
The course fees are due two (2) weeks prior to course commencement. The inability to pay fees by this time may result in your place being given to the next person on the list.
Refunds for course cancellation are available until 14 days before course commencement. Cancellation up until 10 days prior to course commencement may be applied to a course credit, which can be transferred for courses or private training within 12 months of the cancellation.
No refunds or credits are available from days prior to course commencement, and after the course has commenced.
If for any reason you cannot attend the entire course, there is no refund for missed hours or classes. Please organise your schedule so that you do not miss a precious moment of our courses (and let us know in advance if this is the case). We look forward to seeing you very soon!
Contact Details
Siteworks, Saxon Street, Brunswick VIC, Australia
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I Walk In Your Words: A 2-Week Headphone Verbatim Training Course (East London)
A two-week Headphone Verbatim training course, equipping theatre-makers with the tools to create their own work with diverse communities.
Week 1:
25th July 15.45 - 18.15
Rich Mix
26th - 29th July 10.00 - 17.00
Rich Mix & Online
Week 2:
1st - 5th August
10.00 - 17.00
Poplar Union & Online
To access our information pack, click here.
What is Headphone Verbatim?
Pioneered by community arts activist Anna Deveare-Smith and Mark Wing Davey in the USA and now championed in the UK by Kristine Landon-Smith, it is a documentary theatre technique that can rapidly deliver the mood of a community, giving space to unheard voices in society.
Long-form interview is used to collect unique and distinctive personal stories. Once interviews have been completed, the edit looks for the "real" story in the interview: the subtext if you like. Artists then perform edited interviews whilst listening to them at the same time through headphones: hence "headphone verbatim". This technique allows every breath, every utterance, and every idiosyncratic detail of the speaker to be captured by the performer. The result is often a series of poignant, unpredictable, tender, funny and honest testimonies. It is an opportunity to reject the notion of stereotypes and engage with the complexity of each and every personal story. It has the potential to explore identity, culture, history, art, media and technology in the modern world.
Train with us and become a Headphone Verbatim practitioner
We are seeking a cohort of 25 Black & Global Majority creatives to join Kristine Landon-Smith on a 2-week Headphone Verbatim training programme. Participants must be 18 to 30 years and early to mid-career artists. This course is perfect for educators, arts professionals & producers who want to create work with and for diverse communities. It is also an invaluable skill for actors, directors and theatre-makers.
By the end of the process, artists will be equipped with the below skills, a growing network of fellow Headphone-makers and the confidence to develop their own practice. This is part of KLS & Associates’ long-term aim to develop a cohort of practitioners who will be able to train, create and distribute the Headphone Verbatim practice across the UK.
What are the benefits?
Develop a peer network that could support you in the work you make going forward
Build your networks and understanding of working with diverse communities
Receiving teaching and mentorship from highly experienced practitioners
Become equipped with all the skills required to make a Headphone show of one’s own, including:
Selecting a project’s themes with community members
Interview techniques to work with real people from diverse communities
Edit techniques: how to recognise a good edit, using editing software to cut and collate interviews
Understanding the tools to create a performance (Dropbox, tracker documents, ethics & permission release forms)
Curation of material to develop a whole show
Understanding of the Headphone Verbatim performance technique.
Bursary Spots
The fee for this programme is £150 with bursary places available. We are committed to removing financial barriers to accessing the industry whenever possible. We have a limited number of bursary spaces for those who need them. If you are interested in applying for one of these spaces, get in touch with Charlotte at [email protected]
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The Pleasure to Play: Inaugural Workshop
Want to find a more playful and spontaneous way to connect to text? Want to learn how to bring more of your authentic self to a story? Want to work in a more intra-cultural and inclusive platform? Then this masterclass is what you have been looking for! Kristine Landon-Smith and Fabio Motta will take you through a series of games, improvisations, text and clown exercises that will increase an actor’s sensitivity and awareness on how to experience the pleasure to play well. Join us for our inaugural workshop…
When: Across the 1st, 2nd and 3rd April 2022. Where: Dance House, 150 Princes Street, Carlton North, VIC 3054 Price: $450.000
Time: 10am - 6pm
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The S Word: Stanislavsky and Race - an online symposium
The S Word: Stanislavsky and Race - an online symposium
An online international research symposium for scholars, practitioners, teachers and performers-in-training.
Online Event | £20 Standard/ £10 Concession | Registration Required
About this event
The S Word in partnership with the University of Notre Dame London Global Gateway presents
Stanislavsky and Race: Questioning the 'System' in the 21st Century
An international online symposium hosted by the University of Notre Dame London Global Gateway
Keynote Speakers:
Dr Dominic Hingorani, Professor of Performing Arts at University of East London and Co-Artistic Director of Brolly Productions (UK)
Kristine Landon-Smith, Director, Educator and Co-founder of Tamasha Theatre (UK)
Dr Monica White Ndounou, Actor, Director, Associate Professor at Dartmouth College, Founding Executive Director of The CRAFT Institute and Convener of The International Black Theatre Summit (US)
Co-conveners:
Siiri Scott, Head of Acting and Directing, Affiliate Faculty of the Initiative on Race and Resilience, University of Notre Dame (US)
Dr Gerald 'Jay' Paul Skelton, Lecturer, Royal Central School of Speech and Drama (UK)
Friday and Saturday - 19 and 20 November 2021
How can we as scholars, practitioners, teachers and performers-in-training excavate Stanislavsky’s writings, cull effective modalities, and develop inclusive techniques moving forward? Or is Stanislavsky's 'system' simply no longer useful in the twenty-first century as we create anti-racist approaches to our work?
The S Word is a collaborative international research project with partners in The UK, Europe, USA and Australia. Founded by Bella Merlin and Paul Fryer, the project explores the legacy of Stanislavsky's work within a contemporary context. The S Word is based at London South Bank University, and is supported by The Stanislavsky Research Centre.
The symposium is also offering a limited number of free places specifically for Global Majority students. This covers the registration fee and provides access to the entire symposium online. If you wish to take advantage of this, please send a message of enquiry to Siiri Scott ([email protected]) and Dr Gerald 'Jay' Paul Skelton ([email protected]) no later than 15 November.
Please note you will be sent the programme and appropriate online links to all presentations closer to the dates of the symposium.
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An Intracultural Theatre Practice: Play with difference - MRS C'S COLLECTIVE
An Intracultural Theatre Practice: Play with difference
Wednesday 6th October, 2021 | 19:00 - 20:15 | Event Happening at 19:00 GMT
Google Calendar ICS
“The unique cultural context of the individual actor is a rich hinterland for discovery and should not be denied but rather engaged with as a source of power for the actor in their creative endeavours.”
Kristine Landon-Smith
About the session
In this free seminar, Director and Educator Kristine Landon-Smith will unpack her multi-lingual practice, which explores how to bring different nationalities and languages together into the rehearsal room and onto the stage. This practice was developed across 20+ years, firstly as Founder and Artistic Director of Tamasha.
Kristine will discuss how all creatives can play with difference, putting their team’s holistic backgrounds at the heart of every piece of work. Kristine will then take questions from participants.
The free session will last approximately 75 minutes and will take place on Zoom.
About Kristine Landon-Smith
Kristine is a theatre practitioner and lecturer in higher education. She is a recognised leader in the Black/Global majority sector in the UK, she focuses on artist training in intracultural theatre practice, the creation of new work with and from diasporic heritage artists, and the development of audiences for this work.
Her work has included twenty-three years as Artistic Director of Tamasha, UK; Lecturer in Acting at the National Institute of Dramatic Art (NIDA), Australia; Senior Producer for BBC Radio Drama; and freelance appointments as a director and lecturer within actor training (RADA, East15, Mountview, Drama Studio, Oxford School of Drama).
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Pleasure to play: An online acting master-class led by Kristine Landon-Smith and Fabio Motta
PLEASURE TO PLAY:
An online acting master-class led by Kristine Landon-Smith and Fabio Motta
Overview
Our work explores the intersection of an intracultural methodology directed by Kristine Landon-Smith and working from a clown state in the work of Fabio Motta. We come together as practitioners who believe in the mantra coined by Philippe Gaulier, the pleasure to play.
This master-class explores the principles of having the pleasure to play at any given point of rehearsals or performance through:
Finding self in the creation of work and upholding the idea that one’s unique personality is valuable currency in the making of any work
Finding complicité with a scene partner and the audience
Exploration of the clown state
This master-class explores complicité, clown state and intra-cultural training using a variety of texts.
It works on the principle of coming to self as its first port of call. While many methodologies prepare actors to find their character, this workshop asks you to find yourself first. We believe that in doing so, the actor transforms and is then able to go anywhere. This unique workshop forensically examines what the actor needs to do in order to play well in every moment on stage, on screen and even on Zoom, whether in scene, monologue, rehearsal, performance or audition.
The master-class will reveal to the actor how to stay present and connected not only with a scene partner but also with the audience. Kristine Landon-Smith and Fabio Motta will take you through a series of games, improvisations, text and clown exercises that will increase an actor’s sensitivity and awareness by bringing one’s authentic self to your performance and consequently experience the pleasure to play.
Complicité
A central part of the master-class is focussed on learning complicité – the effortless connectivity and collaboration between actors and also the audience. If an actor can find a warm and generous communication with the other actors on stage they can then create something wonderful together. It is the live electricity flowing between two actors (not the characters) in front of our eyes which the audience engages with. The stress that can come from thinking too hard about character and background is removed as actors find a pure channel of communication between each other with nothing getting in the way. This is what directors often describe as being present and playing moment by moment.
The Clown State
When actors are asked to find complicité with an audience they are asked to work in the clown state. To play in a clown state, the actor needs to be fully present and to listen intently to the audience in order to be guided by what the audience seems to be asking for and what they love about them when on stage. Laughter from the audience is usually the main indicator of when the clown state is closest to the actor.
This master-class lays down the basics around finding self through complicité, clown state and hence finding the pleasure to play.
Intra-cultural Practice
The work is based around the principle of bringing one’s authentic self on stage or in front of a camera. Our 21st century rehearsal rooms our made up of a diverse range of pluralistic backgrounds. As practitioners, the facilitators understand how to embrace and play with unique difference rather than disavowing it. By allowing every individual the same position in the rehearsal room, one begins to play with the intracultural dynamics of the ensemble and uncover what can emerge whether that be in a devised piece or an extant text.
Who is this for?
Actors at any point of their career. Beginners, intermediate and advanced career artists can all participate and the facilitators are experts at working with varying degrees of experience and expertise within the cohort
The breakdown of sessions is as follows:
Play: learning complicité through games
Improvisation: holding the openness and complicité with each other found in games and threading this through to improvisation
Text work and scene work: holding the open complicité found in games and improvisations and threading this through to text work
Clown work: Utilising the above effortlessly in clown work to extend one’s understanding of how to forge a complicité with the audience
Giving an understanding of how theatrical clown work is an integral part of actor training and how what is learnt through clown work can be applied in scene work
Students Outcomes:
A sense of self and the importance of you and your unique self in any work
Effortless easy playing
An understanding of how theatrical clown work is an integral part of actor training and how this learning can be applied in scene work
Value of Improvisation: threading the openness and complicité with each other found in games and improvisation through to text work
Establishing excellent complicité with scene partners and audiences even over Zoom
Forensic understanding of what it is to play well on stage and on screen
An easing of any nerves or anxieties when performing
Greater confidence in one’s unique ability and the fact that this will be seen and recognised. This will lead to an increased success rate in auditions and a greater sense of ease in early rehearsals.
Better prepared for the industry as one stops trying to second guess what is being asked of them and replaces this with the idea that employers are looking for a unique sense of self - not mimicry.
WHERE: Online via ZOOM
WHEN: 21st and 22nd May 2021.
TIME: 7pm-10pm AEST, 8am – 11am GMT
COST: $120.00 AUS/£70 GBP
Quotes from previous workshops:
“Beyond expectation… I loved playing with a text and bringing it to life. So much pleasure!”
“Life changing… the teachers cultivated a kind, productive and open space to play – please do it again.”
“Thank you for a beautiful week, truly beautiful and opening.”
“The single best master-class I have done online or face to face. I felt inspired, empowered and more confident in my ability as an artist.”
“Actors were open, free and sensitive. I believe if more actors were trained this way, we would see theatre that really moved us”.
“This master-class opened up my body to a new and exciting way of working. Bringing my full self, my complicté and my pleasure to play at the centre of my work.”
Kristine Landon-Smith
Kristine Landon-Smith is a theatre practitioner and educator. She has recently returned to the UK after a three year posting as Senior Lecturer in Acting at The National Institute of Dramatic Art (NIDA) Australia. She joined the institution in 2013 after more than 22 years as a Founder member and Artistic Director of Tamasha, one of Britain's leading middle-scale touring companies specialising in artist training, new writing and intra-cultural theatre practice. Prior to founding Tamasha, Kristine was a Senior Producer for BBC Radio Drama.
She currently freelances as a teacher and director in the UK and Australia. Her practice encourages the actor to “play” well and at all times (with or without text), while nurturing the individual personality and spirit of the performer. Working closely with the actor’s cultural context and language in particular plays a large part in her practice. Kristine has been hugely influenced by her former tutor and mentor, the French master of clown and bouffon Philippe Gaulier, and has frequently taught on the Greek Tragedy, Chekhov and Shakespeare courses at his Paris-based institute, L'Ecole Philippe Gaulier.
Fabio Motta
Fabio is an actor, clown and teaching artist who has acted and devised theatre in Australia, Italy and the USA. Most recently, he co-devised “Me too us too me too too too” with Physical and Political, under the direction of Giovanni Fusetti. He also devised and performed his solo show SPOT, with a sold out season at Theatreworks in 2021. Fabio has run workshops at New York University, HB studio, 16th Street Acting Studio, St.
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‘Against the Canon’: diversifying performer training
‘Against the Canon’: diversifying performer training
About this Event
March 10th, 18:15 - 20:15 GMT | Online Event
An international panel conversation about the diversification of contemporary performer training which builds on the recent publication of a special issue of ‘Against the Canon’ in Theatre, Dance and Performance Training 11:3 (Routledge, 2020).
Panellists will include three authors from the journal: Kaja Dunn and Sharrell Luckett (USA), and Kristine Landon-Smith (former artistic director of Tamasha). They will be joined by Abdul Shayek (artistic director of TARA) and Gail Babb (former member of Talawa Theatre and staff member at Goldsmiths).
Attendees will receive short films from each of the panel members introducing their practice to watch in advance of the panel discussion.
'Against the Canon', Special Issue, Theatre, Dance and Performer Training (11.3)
Guest editors Mark Evans and Cass Fleming
https://www.tandfonline.com/toc/rtdp20/current
Kaja Dunn, is an assistant professor and the Head of Acting at the University of North Carolina-Charlotte Department of Theatre and affiliate faculty for Theatrical Intimacy Education, where she co-intiated the summit on Race and Intimacy at Princeton University. Kaja is is an actor, director, and activist. She has performed nationally and internationally in over 40 productions.
She has presented on issues of Equity and Diversity for Actor’s Equity as their racial consultant, The Women’s Theatre Festival, Blumenthal Performing Arts, MICHA, North Carolina Theatre Association (Keynote Panelist), Children’s Theatre Charlotte, Anti-Racism and Decolonization at University of London Goldsmiths, SETC and SETC Theatre Symposium, KCATF and The Association of Theatre in Higher Education, among other places. She is on the Executive Board of the Black Theatre Network . She teaches workshops and consults for universities and private corporations. She has published in the US and has a co-authored publication coming out for a new Arden Research Companion to Shakespeare and Contemporary Performance on Decolonizing Shakespeare in Performance. She was most recently interviewed in American Theatre Magazine around issues of Race and Theatre education.
Kristine Landon-Smith is a theatre practitioner and lecturer in higher education. Her work in industry and HE has included three years as Lecturer in Acting at the National Institute of Dramatic Art, Australia; twenty-three years in a senior management role as Artistic Director of Tamasha, UK; four years as Senior Producer for BBC Radio Drama; and freelance appointments as a director and lecturer within industry and HE settings. A recognized leader in the Black/Global Majority sector in the UK, she focuses on artist training in headphone verbatim practice and intracultural theatre practice, the creation of new work with and from diasporic heritage artists, and the development of audiences for this work. She currently freelances as an educator and director in mainly the UK and Australia and her industry work has been focusing on applied theatre and her multi-lingual practice which explores how to bring different nationalities and languages together in existing texts.
Sharrell D. Luckett, PhD, is Associate Professor of Drama and Performance Studies and Director of the Weinberger Center for Drama and Playwriting at the University of Cincinnati. She is faculty collaborator with the College-Conservatory of Music (CCM). Her research is situated in acting/directing theory and cultural studies. Luckett is lead editor of the award-winning book Black Acting Methods: Critical Approaches (2017) and has authored/co-authored four other books. An accomplished theatre artist, she is also a director, playwright, actress, and dramaturg. Canonical works that she has staged include Topdog/Underdog by Suzan-Lori Parks and for colored girls… by Ntozake Shange. Luckett is founding Executive Director of the Black Acting Methods® Studio, an actor training program in performance theory and practice.
Image credit: Marymount Manhattan College
https://www.gold.ac.uk/calendar/?id=13477
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Pleasure To Play: Greek Tragedy
Pleasure To Play: Greek Tragedy
An Online Acting and Clowning Masterclass! Focusing on Greek Tragedy
Starts on Wed Feb 17, 2021 | $480
Want to find a more playful and spontaneous way to connect to text?
Want to develop trust to fully support your impulses and find more of your talent? Want to learn how to bring more of your authentic self to a story?
Want to work in a more intra-cultural and inclusive platform?
Then this masterclass is what you have been looking for!
Kristine Landon-Smith and Fabio Motta will take you through a series of games, improvisations, text and clown exercises that will increase an actor’s sensitivity and awareness on how to experience the pleasure to play well.
The work is based around the principle of bringing one’s authentic self on stage or in front of a camera. It will reveal to the actor how to stay present and connected not only with a scene partner but also with the audience. The actor is at the heart of the practice, and Kristine and Fabio work with each individual in the collective to encourage a deeper sense of self in both text and clown work.
No previous clown training required. This class is open to all who are curious to play and explore, from actors, to directors and all creatives.
This unique workshop forensically examines what the actor needs to do in order to ‘play well’ on stage and onscreen, even on Zoom at every moment, whether in scene or monologue, in rehearsal, performance or audition.
Students Outcomes:
A sense of self and the importance of you and your unique self in any work,
Effortless easy playing,
Giving an understanding of how theatrical clown work is an integral part of actor training and how what is learnt through clown work can be applied in scene work,
Improvisation: holding the openness and complicité with each other found in games and threading this through to improvisation,
Text work : monologues and scene work – holding the open complicité found in games and improvisations and threading this through to text work
Establishing excellent complicité with scene partners and audience even over Zoom
How to find more authenticity and connection to Greek tragedy texts
Book Online
Pleasure To Play: Greek Tragedy
$480
Fabio
Dates: Feb 17, 2021 - Feb 27, 2021
Takes place every week, total of 8 sessions
Wed, Feb 17, 2021 7:00 PM - 10:00 PM
Thu, Feb 18, 2021 7:00 PM - 10:00 PM
Fri, Feb 19, 2021 7:00 PM - 10:00 PM
Sat, Feb 20, 2021 7:00 PM - 10:00 PM
Wed, Feb 24, 2021 7:00 PM - 10:00 PM
Thu, Feb 25, 2021 7:00 PM - 10:00 PM
Fri, Feb 26, 2021 7:00 PM - 10:00 PM
Sat, Feb 27, 2021 7:00 PM - 10:00 PM
GMT +11:00
Siteworks Brunswick, 33 Saxon Street Brunswick VIC
Zoom Sessions
You will receive a Zoom link once you’ve booked this service.
Booking Policy
Bookings close 1 day before the session starts.
Cancellation Policy: REFUND POLICY: 24 hours notice is required for all Private Session bookings. Fail to notify within this time may result in a full fee charged. The course fees are due two (2) weeks prior to course commencement. The inability to pay fees by this time may result in your place being given to the next person on the list. Refunds for course cancellation are available until 14 days before course commencement. Cancellation up until 10 days prior to course commencement may be applied to a course credit, which can be transferred for courses or private training within 12 months of the cancellation. No refunds or credits are available from days prior to course commencement, and after the course has commenced. If for any reason you cannot attend the entire course, there is no refund for missed hours or classes. Please organise your schedule so that you do not miss a precious moment of our courses (and let us know in advance if this is the case). We look forward to seeing you very soon!
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26 Pebbles - tickets on sale soon!
26 Pebbles
Directed by Kristine Landon-Smith - Performance Preparation Academy
10th, 12th and 14th November 2020
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Little Revolution - tickets on sale soon!
Little Revolution
Directed by Kristine Landon-Smith with Performance Preparation Academy
11th, 13th and 14th November 2020
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Touchstone Tales 2 - Bury Park – inspired tales of life, love and loss
Revoluton Arts presents Touchstone Tales 2: Bury Park – inspired tales of life, love and loss
Directed by Kristine Landon-Smith
October 15th, 19:30 - 21:00, Free - registration required
An exciting live online event of performance and stories inspired by personal testimonies of interconnected characters in a fictional family.
Touchstone Tales 2 is performed by Sagar Arya, Sudha Bhuchar, Ameet Chana, Rina Fatania, Naveed Khan, Hussina Raja and Ragevan Vasan.
The project runs in conjunction with the national Touch Test survey in partnership with Wellcome Collection, Goldsmiths University and BBC Radio4. The results of this survey will be announced on Radio 4 from Monday 5 to Friday 9 October daily at 13.45pm in Anatomy of Touch.
Sitting alongside the monologues, is a crowd-sourced film, Ramadan in lockdown Luton, edited by Lydia Howe and co-created by participants who shared footage of their Ramadan journey through the lens of touch.
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PLEASURE TO PLAY – Shakespeare and Chekhov: An Online Acting and Clowning Masterclass!
PLEASURE TO PLAY – Shakespeare and Chekhov
An Online Acting and Clowning Masterclass!
Want to find a more playful and spontaneous way to connect to text?
Want to learn how to bring more of your authentic self to a story?
Want to work in a more intra-cultural and inclusive platform?
Then this Masterclass is what you have been looking for!
Kristine Landon-Smith and Fabio Motta will take you through a series of games, improvisations, text and clown exercises that will increase an actor’s sensitivity and awareness on how to experience the pleasure to play well. The work is based around the principle of bringing one’s authentic self on stage or in front of a camera. It will reveal to the actor how to stay present and connected not only with a scene partner but also with the audience.
The actor is at the heart of the practice, and Kristine and Fabio work with each individual in the collective to encourage a deeper sense of self in both text and clown work. No previous clown training required. This class is open to all who are curious to play and explore, from actors, to directors and all creatives. This unique workshop forensically examines what the actor needs to do in order to ‘play well’ on stage and on screen, even on Zoom at every moment, whether in scene or monologue, in rehearsal, performance or audition.
This class is open to all who are curious to play and explore, from actors, to directors and all creatives.
On the final day of the workshop, we will have an open class to showcase scenes and work discovered over the masterclass for the viewing pleasure of an audience.
Students Outcomes:
A sense of self and the importance of you and your unique self in any work
Effortless easy playing
Giving an understanding of how theatrical clown work is an integral part of actor training and how what is learnt through clown work can be applied in scene work
Improvisation : holding the openness and complicité with each other found in games and threading this through to improvisation
Text work : monologues and scene work – holding the open complicité found in games and improvisations and threading this through to text work
Establishing excellent complicité with scene partners and audience even over Zoom
DATES:
September 9th,10th,11th, 12th & 16th, 17th, 18th, 19th.
Over two weeks, Wednesday to Saturday with an 'open class' on the 19th of September for a showcase of the work. TIME: 7pm-10pm (AEST) WHERE: ZOOM (online) PRICE: $480.00
ENROLMENT: email [email protected] with a short letter of intent.
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Touchstone Tales monologues
Touchstone Tales monologues
About this Event
Part of Revoluton Arts' Bury Park residency
A Revoluton Arts / Wellcome Collection co-commission
Join us for an evening of monologues and conversation inspired by stories of ‘touch’ from Bury Park.
Written by award-winning actor and playwright Sudha Bhuchar.
Performed by Sudha Bhuchar and Luton's Hussina Raja.
This special Late Lounge marks the culmination of our Digital Revolution online creative events season.
When:
Fri, 26 Jun 2020 19:30— Fri, 26 Jun 2020 20:30
Costs:
Facebook Live FREE => Zoom (register on Eventbrite) FREE =>
Age:
All ages
Programme
Monologue performances
Monologue performances include:
The Eid Hug (previously performed at our Ramadan in Lockdown Luton online film event on 18 June 2020)
A new piece — The Ninja Sister — inspired by The Pink Diamond Girls martial arts club (see Sudha’s blog).
The monologues are based on word-for-word records of conversations with people in Bury Park that Sudha has gathered through engagement and interviews.
Written by award-winning actor and playwright Sudha Bhuchar.
Performed by Sudha Bhuchar and Luton born and bred Hussina Raja.
Directed by Tamasha Theatre company's co-founder Kristine Landon-Smith.
Work in progress monologues
Sudha will also share several work-in-progress ‘touch-’inspired monologues that have come out of her recent online workshops with families in Bury Park.
Live Q & A
There will be a Q & A and open discussion around the themes, chaired by Sudha Bhuchar.
Register to take part in the Q & A on Zoom.
Where?
Zoom and Facebook Live
Age suitability
Suitable for all ages
Register
Register on Eventbrite to get Zoom link — for the best experience or to take part in the live Q & A — limited places available.
Find Facebook event — mark yourself 'interested' or 'going' to get reminders about when the Zoom event starts
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The Laramie Project
The Laramie Project
by Moisés Kaufman and the members of the Tectonic Theater Project
Directed by Kristine Landon Smith
Designed by Adam Wiltshire
Inspired by true events, Moisés Kaufman’s verbatim play confronts the brutal and homophobic murder of Matthew Shepard, which sparked shock and debate in the USA in 1998.
Comprising over 400 interviews gathered over 18 months, Kaufman’s ground-breaking play explores the personal tragedy of what became a political turning point in hate crime legislation in America.
Moisés Kaufman created The Laramie Project with members of the Tectonic Theater Project, which he co-founded in 1991. His other works include Gross Indecency: The Three Trials of Oscar Wilde and the Tony-nominated 33 Variations.
Kristine Landon Smith co-founded Tamasha Theatre in 1989. Her work with Tamasha includes the Olivier-nominated East is East, Fourteen Songs, Two Weddings and A Funeral, The Trouble, Child of the Divide and Wuthering Heights. Kristine has taught all over the world, particularly in the UK and Australia.
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The Connection
The Connection
Royal Birmingham Conservatoire
16th October - 23rd October 2019
Price : £8 (£5.50) Free to BCU Staff/Students
Written by Jack Gelber Directed by Kristine Landon Smith Composer/Musical Director John O'Gallagher
In a smoky New York jazz club, musicians jam whilst they await their next fix.
Blurring the edges of reality and fiction, The Connection leads you inside the grungy underbelly of society, disintegrating the traditional relationship between audience and actor as the dark alleys of downtown 1950's New York are illuminated in Gelber's iconic, historically important work.
In a collaboration between Royal Birmingham Conservatoire's jazz musicians and Theatre Company, witness a melange of text and jazz improvisations in this site-specific performance; an iconic work breaking both fourth wall and inhibitions.
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Finding Complicite´ with Kristine Landon-Smith & Fabio Motta
Finding Complicite´ with Kristine Landon-Smith & Fabio Motta
The pleasure to play with your scene partner and the audience
Course Overview
This unique workshop forensically examines what the actor needs to do in order to ‘play well’ on stage at every moment, whether in scene or monologue, in rehearsal, performance or audition. It will reveal to the actor how to stay present and connected not only with a scene partner but also with the audience. Kristine Landon-Smith and Fabio Motta will take you through a series of games, improvisations, text and clown exercises that will increase an actor’s sensitivity and awareness on how to experience the pleasure to play well on stage.
Games for the theatre have become an integral component in most theatre training establishments throughout the world, used not only in the rehearsal process but also as a way of preparing the actor to be creative. This methodology, strongly influenced by Philippe Gaulier’s flagship course “Le Jeu”, places the actor at the centre of the rehearsal room process, and gives them the confidence to play through themselves in any text or genre. A central part of the study is about learning complicité (effortless connectivity and collaboration between actors and also audience).
The work is based around the principle of bringing one’s authentic self to the stage. The actor is at the heart of the practice, and Kristine and Fabio work with each individual in the collective to encourage a deeper sense of self in both text and clown work. No previous clown training required. This class is open to all who are curious to play and explore, from actors, to directors and all creatives.
Course Outline
The course is divided into two sessions. The morning session – where Kristine leads and takes actors through a series of complicité games, improvisation and text work. The afternoon session – where Fabio will lead actors through a series of presence and clown exercises. Both tutors are present all day and together they enlighten students on how clown and text work interconnects. These two disciplines are inseparable and are able to feed greatly from each other.
The breakdown of sessions is as follows;
Games : learning complicité in games
Improvisation : holding the openness and complicité with each other found in games and threading this through to improvisation
Text work : monologues and scene work – holding the open complicité found in games and improvisations and threading this through to text work
Utilising the above work effortlessly in clown work to extend one’s understanding of how to forge a complicité with the audience
Giving an understanding of how theatrical clown work is an integral part of actor training and how what is learnt through clown work can be applied in scene work
Course Outcomes
This course will give you a deeper awareness and sense of yourself, and show you how to bring this to the stage. You will gain greater freedom and confidence as you learn how to play well on the stage with ease at any given moment.
Students Outcomes:
A sense of self and the importance of you and your unique self in any work
Effortless easy playing
Establishing excellent complicité with scene partners
Establishing excellent complicité with an audience
Forensic understanding of what it is to play well on stage
A process which will lead to an easing of any nerves or anxieties when performing
Session Details
When: 3 x Full Days
Dates: Saturday 3rd, Sunday 4th & Monday night 5th August
Time: 10am – 5pm each day
Venue: 18 City Rd, Chippendale, NSW 2008
Participants: 16 Maximum
Price: $560.00 incl GST (10% off for Hub Members)
Payment Information
How To Pay & Instalment Option: The easiest way to pay is by Electronic Funds Transfer (EFT) using the bank details on the invoice (please quote the invoice number in the transfer information), or by simply clicking the ‘pay online’ link also on the invoice (bank fees apply). You will be email an invoice upon acceptance into the program. Payment is due no later than the due date stated on the invoice, however if you would like to pay in instalments please call or email the office to arrange the dates and amounts you will pay. Please note full payment of the course is due by the time the course finishes. You can start payment instalments at anytime upon receipt of the invoice.
Apply For The Course
Please send an expression of interest including your C.V. to [email protected] or click button below and fill out the form. Please note the course is by invitation only. If accepted we shall send out an application form with all the course information. Notification for acceptance will be made no later than one week before course commencement.
If offered your place will only be held once payment is received in full. Failure to do so will forfeit your place on the course. For more information or queries please don’t hesitate to call on (02) 9212 0522 or alternatively email us on the above address.
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