L’éxpression sans règle est une manière de prostitution.Alain
- Accuracy and precision
- Rhythm and balance
- Realisation of the importance of constant practice
- Stylised movement
- The use of acting space
- Rhythm skills
- Fictive characters, actions and emotions.
- Improvisation of actions, characters and milieus
- The use of the mask
- The use of body extensions
The second level is for students that have mastered level one. Professional actors-dancers in good physical shape who wish to learn more about the ways of movement-based theatre may join level II. (For professionals trained elsewhere, basic exercises from level I can be added if necessary).
When the student has learnt to move without constraints, with free flow of energy, and acts with grace and control in front of an audience, when he reacts swiftly on impulses and is well focused, conscient of his body and his actions, he is mature for level II, where the dramatic body develops into a dilated, extra-daily, glowing body. It is no longer a question about ‘me’, but about you, us, of others, of characters. The student gets more conscient about the form of movement, space, time, and the audience. This will take time.
- Games and limbering up exercises II: as in level I. The same exercises can be used, but for level II, warm-ups and limbering-up exercises should be made more effective. The instructor should combine movement and demand greater focus, higher tempo, etc.
- Body education II: The sense for form and rhythm, the grades of energy, and the energy of others (animals, plants, temperaments, moving objects, etc.) and their application in characters are developed.
The students must learn to practise constantly, even alone.
- Voice and body II: The resonators of the voice are practised, as well as to communicate by sounds, and the intonation of the voice (and not communication through words). Sound and movement skills are further developed.
- Acrobatics II: Serves the development of individual skills, as well as collaboration with partner(s) chains of acrobatic movement. Applied acrobatics in dramatic situations.
- Movement analysis II: Treats the different ways of movement, the analysis of postures and walks, emotions and actions for the use of characterisation. The uses of scenic space – individually and in a group – are analysed and practised.
- Characterisation: of non-masked characters.
- Mask: The use of the mask as a pedagogical method, as well as the techniques of mask theatre.
- Improvisation II: Dramatic application.