EUROPEAN ASSOCIATION FOR THEATRE CULTURE
AKT-ZENT International Theatre Centre Research Centre of the International Theatre Institute

SEMINAR in BERLIN – Register NOW

Artistic Direction: Dr. Jurij Alschitz
Training: Christine Schmalor
Berlin, 3rd - 8th of January 2012

Theatre not only moves the audience to other realities - to other places - it mainly changes people's experience of time. And what does this mean for the work of the actor? Time on stage follows different laws. The perception of time changes in the process of creation. Jurij Alschitz recently started his research on the PAUSE ON STAGE. In several seminars he discovered a lot of interesting aspects of this theme for both the training of actors and analysis.
Every January, Jurij Alschitz invites directors, teachers and actors to discuss and experiment together:
“For me, theatre practice is always and inevitably connected with philosophy and scientific research. I was inspired by M. Bakhtin’s theory of chronotope to research more about Chronos on stage, and to develop practical exercises for actors.
The main questions I would like to propose for our work are: how can we understand scenic time? How is the time of the events represented in the play? What about the time of events occurring on a stage? In what scenic time it is expressed? How does it move? What is the internal concept of time of the stage? What is the internal concept of time of the actor? etc. Further, we should think about themes like “the time of the personage and time of the actor”, “the lifetime of words and eternal time of silence”, and “the lifetime of the ensemble - its birth, life and death”.
From theory we will pass on to practice. We will ask ourselves, how it is possible to operate scenic time? “The road of time” - what does it mean for the actor, for the director? How it is possible to stretch scenic time, how to condense it or even stop it?
I would be delighted if this subject would interest you. I am inviting you to participate in my research on this theme, and to share with me and your colleagues your point of view.”

Read more http://www.theatreculture.org/pdf/mastereng.pdf