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<th ALIGN=RIGHT VALIGN=BASELINE NOWRAP>Subject: </th>
<td>Conference on actor's training (English version)</td>
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<th ALIGN=RIGHT VALIGN=BASELINE NOWRAP>Date: </th>
<td>Tue, 09 Jan 2001 15:13:09 -0500</td>
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<th ALIGN=RIGHT VALIGN=BASELINE NOWRAP>From: </th>
<td>Josette Féral <feral.josette@UQAM.CA></td>
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<tr>
<th ALIGN=RIGHT VALIGN=BASELINE NOWRAP>Reply-To: </th>
<td>Association for Theater in Higher Education - News and Information<ATHENEWS@LISTS.WAYNE.EDU></td>
</tr>
<tr>
<th ALIGN=RIGHT VALIGN=BASELINE NOWRAP>To: </th>
<td>ATHENEWS@LISTS.WAYNE.EDU</td>
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<p><font size=+1>The annoucement for the Conference on Actor's training
is now available in English. We also have a web site for additional information:
</font><u><font color="#0000FF"><a href="http://www.er.uqam.ca/formation.acteur" eudora="autourl">http://www.er.uqam.ca/formation.acteur</a></font></u>
<p><font size=+1>International conference on the training of actors</font>
<br><b><font face="Times New Roman, Times"><font size=+1>TRAINING OR TRANSMISSION:
CAN ACTING BE TAUGHT?</font></font></b>
<p><font face="Times New Roman, Times">Théâtre de la Colline,
Paris</font>
<br><font face="Times New Roman, Times">April 27, 28, 29 2001</font>
<p><b><u>Organisation:</u> Département de théâtre,
Université du Québec à Montréal UQAM
, Josette Féral</b>
<br>
<p><b><u>Co-organisers (in France)</u></b>
<br>Centre National du Théâtre à Paris CNT (Danièle
Naudin for Jacques Baillon)
<br>Paris X Nanterre, Département des Arts du Spectacle, (Christian
Biet and Jean-Louis Besson)
<br>
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<dd>
<b>E-mail address :</b><u><font color="#0000FF">colloque.formation.acteur@uqam.ca</font></u></dd>
<dd>
<b>Web site</b>: <u><font color="#0000FF"><a href="http://www.er.uqam.ca/formation.acteur" eudora="autourl">http://www.er.uqam.ca/formation.acteur</a></font></u><font face="Courier New, Courier"></font></dd>
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<br>
<br> </dl>
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<font size=+0>The conference will take place over three days, each one
dealing with a particular theme. In addition to the papers and conferences,
the program will include, if possible, practical demonstrations and film
and video excerpts.</font>
<br><font size=+0>Nine sessions and round tables have been scheduled to
discuss specific questions related to theatre teaching:</font>
<p><font size=+0>Session I:<x-tab></x-tab><x-tab></x-tab>Fundamental Issues
in Theatre Training</font>
<br>Session II:<x-tab></x-tab><x-tab></x-tab>Training Pre-requisites
<br>Session III:<x-tab></x-tab><x-tab></x-tab>The Technical Foundations
of Training
<br>Session IV:<x-tab></x-tab><x-tab></x-tab>Parallel Training Programs
I
<br>Session V:<x-tab></x-tab><x-tab></x-tab>Parallel Training Programs
II
<dl>
<dl>
<dl>
<dd>
Session VI:<x-tab> </x-tab>From Training to Professional Life: The
Impact of Economic Conditions on Training</dd>
</dl>
</dl>
</dl>
Session VII:<x-tab></x-tab><x-tab></x-tab>What Type of Training for What
Kind of Theatre?
<br>Round Table:<x-tab></x-tab><x-tab></x-tab>Director as Pedagogue
<br>Round Table:<x-tab></x-tab><x-tab></x-tab>Actors as Pedagogues
<dl>
<dd>
<b><u><font size=+1>Participants</font></u><font face="Courier New, Courier"><font size=-1></font></font></b></dd>
<dd>
* Bayerische Theaterakademie (Allemagne)</dd>
<dd>
* Hochschule fur Darstelland, Kunst " Ernst Busch " (Allemagne)</dd>
<dd>
* Folkwang-Hochschule Essen (Allemagne)</dd>
<dd>
* Conservatoire de Liège (Belgique)</dd>
<dd>
* École nationale de théâtre du Canada (Canada)</dd>
<dd>
* Primus theater (Canada)</dd>
<dd>
* Banff Center (Canada)</dd>
<dd>
* Département de théâtre , UQAM (Québec)</dd>
<dd>
* Le Dojo pour acteur de Pol Pelletier (Québec)</dd>
<dd>
* Conservatoire d'art dramatique de Québec (Québec)</dd>
<dd>
* Institut del Teatre, Diputacio de Barcelona, Escola Superior d Art Dramatic
(Espagne)</dd>
<dd>
* Conservatoire National de Paris (France)</dd>
<dd>
* ENSATT, Ecole nationale supérieure des arts et techniques du théâtre
(France)</dd>
<dd>
* ESAD, Ecole supérieure d art dramatique du Théâtre
national de Strasbourg (France)</dd>
<dd>
* Conservatoire national de région de Bordeaux (France)</dd>
<dd>
* Conservatoire national de région de Montpellier (France)</dd>
<dd>
* Ecole de théâtre du Théâtre national de Bretagne
(France)</dd>
<dd>
* Ecole du Centre dramatique national de Saint-Etienne (France)</dd>
<dd>
* Ecole régionale d acteurs de Cannes (France)</dd>
<dd>
* Le Jeune Théâtre national (JTN) (France)</dd>
<dd>
* Ecole internationale de théâtre Jacques Lecoq (France)</dd>
<dd>
* L'ARTA (France)</dd>
<dd>
* Civica Scuola Paolo Grassi de Milan (Italie)</dd>
<dd>
* ICRA International Centre for the Research of the Actor (Italie)</dd>
<dd>
* Istituto Internationale per la Ricerca Teatrale (Italie)</dd>
<dd>
* London Academy of Music and Dramatic Art (LAMDA) (Royaume-Uni)</dd>
<dd>
* School Physical theater et Theatre Complicité (Royaume Uni)</dd>
<dd>
* Laban Center London (Royaume-Uni)</dd>
<dd>
* Conservatoire de Genève (Suisse)</dd>
<dd>
* Conservatoire de Lausanne (Suisse)</dd>
<br>
<p>
<br>
<br> </dl>
<b><font size=+0>Registration and Information :</font></b>
<br><font size=+0>Josette Féral</font>
<br><font size=+0>Département de théâtre</font>
<br><font size=+0>Université du Québec à Montréal</font>
<br><font size=+0>C.P. 8888, Succursale Centre-Ville</font>
<br><font size=+0>Montréal (Québec) Canada H3C 3P8</font>
<p><font size=+0>Phone : (514) 987-3000, extension 3255</font>
<br><font size=+0>Fax : (514) 987-7881</font>
<br><font size=+0>E-mail : <u><font color="#0000FF">colloque.formation.acteur@uqam.ca</font></u></font>
<p><font size=+0>In Paris :</font>
<br><font size=+0>CCIFQ</font>
<br><font size=+0>a/s Joëlle Touroude</font>
<br><font size=+0>96, boulevard Raspail</font>
<br><font size=+0>75006, Paris</font>
<p><font size=+0>Phone : 01 42 84 50 82</font>
<br>
<p><b><u> PROGRAM STRUCTURE</u></b>
<p>Session I: Fundamental Issues in Theatre Training
<br><i>Some fundamental questions to begin with: what is acting? What is
involved in the teaching of acting? What are the fundamental issues of
today’s training programs? What must be taught? (What do we have the right
to teach, said Vitez). What are the privileged training models? What are
the strengths and weaknesses of the current training programs?</i>
<p>Session II: Training Pre-requisites
<br><i>What qualities or pre-requisites are demanded of a student before
he starts training? We often speak of availability to the acting process.
What does that mean? And how does one avoid slipping towards the often-used
notion of talent? How is talent detected? How is it defined? What skills
does the training seek to develop and to what end?</i>
<p>Session III: The Technical Foundations of Theatre Training
<br><i>How important is technique? Vitez spoke of ‘basic technique’ and
of ‘pure technique’. Does technique really free the actor and facilitate
the creative process? What role do exercises play in the training? What
is the nature of these exercises? Their function? Their usefulness?</i>
<br><i>What other forms of art are called upon in the training of an actor
(dance, fencing, circus, singing, mime, street theatre...) and what is
the specific contribution of each?</i>
<p>Session IV: Parallel Training Programs I
<br><i>Certain independent schools (Laban Center in London, Drama Center
London, École Jacques Lecoq, École de mime de Montréal,
ARTA, ICRA in Italy) have been created in order to give actors a different
kind of training than what they would receive in institutional schools.
Why did these training programs come into being? What role do they fulfil?
What do these para-institutional schools offer that other training programs
cannot? How can some of their findings - recognised by one and all as well
founded - be integrated into a traditional training program? What are the
foundations of these parallel training programs?</i>
<p>Session V: Parallel Training Programs II
<br><i>Is a pedagogy of creation possible? What type of theatre can come
out of it? Can we envision school as a greenhouse and not as a mould? We
speak willingly of porosity pedagogy and of obstacle pedagogy: what do
these notions mean?</i>
<p>Session VI: From Training to Professional Life: The Impact of Economic
Conditions on Training
<br><i>Economic conditions and the laws of the market incite many actors
to acquire a training by zapping, accumulating diverse training methods
in order to be malleable and to adapt to different acting aesthetics (including
cinema and television). How should we regard this type of training? Its
necessity? Its impact on the way acting is taught?</i>
<p>Session VII: What Type of Training for What Kind of Theatre?
<br><i>Finally, what kind of theatre is being targeted by these training
programs? Do they have today's theatre in mind or are they attempting to
rethink the theatre of tomorrow? Could the state of theatre teaching be
separate from a true vision of theatre?</i>
<p>Round Table: Director as Pedagogue
<br><i>Beyond training programs and known circuits, transmission occurs
as often as not through the artistic practices of directors or actors taken
as alternative teaching models. The director often takes on the role of
pedagogue. More common in the past than today, these alternative training
methods are still a force in theatre training, creating a canvas where
directors and actors emerge as examples to follow. How do the transmission
and the sedimentation of such know-how operate? How (and why) have directors
taken the lead in certain conservatories? This practice, common in France,
has little hold in Anglo-Saxon countries. What do these cultural differences
reveal?</i>
<br><i>We will call upon certain directors to give their vision of things
and to share their experience with the actors present. They will analyse
the strengths and weaknesses of the training they received. How have their
artistic practices influenced their teaching? How has their teaching in
turn influenced their artistic practices?</i>
<p>Round Table: Actors as Pedagogues
<br><i>How does the actor become a pedagogue? What is he seeking to pass
on? How does his teaching feed on his own experience as an artist? The
actors will be invited to share their experience on coming out of their
respective training programs. Did they feel prepared? What was missing?
And today, how do they see the training, both that which they give and
that which they observe in the young people with whom they are called to
work?</i>
<br>
<br>
<br>
<br> -----Josette FéralDépartement de théâtre,
UQAMCP 8888, Succ Centre-VilleMontréal (Qué.) Canada H3C
3P8Tel: Bureau (514) 987 3000 ext:3255
Personnel: (514) 342 2297 Fax:
(514) 987 7881</html>