[Fwd: Conference on actor's training (English version)]

Wed Jan 10 18:59:02 EST 2001

-------- Original Message --------
 Subject: Conference on actor's training (English version)
    Date: Tue, 09 Jan 2001 15:13:09 -0500
    From: Josette Féral <feral.josette at UQAM.CA>
Reply-To: Association for Theater in Higher Education - News and
          Information<ATHENEWS at LISTS.WAYNE.EDU>
      To: ATHENEWS at LISTS.WAYNE.EDU

The annoucement for the Conference on Actor's training is now available
in English. We also have a web site for additional information:
http://www.er.uqam.ca/formation.acteur

International conference on the training of actors
TRAINING OR TRANSMISSION: CAN ACTING BE TAUGHT?

Théâtre de la Colline, Paris
April 27, 28, 29   2001

Organisation:  Département de théâtre, Université du Québec à Montréal
UQAM , Josette Féral

Co-organisers (in France)
Centre National du Théâtre à Paris  CNT (Danièle Naudin for Jacques
Baillon)
Paris X  Nanterre, Département des Arts du Spectacle, (Christian Biet
and Jean-Louis Besson)

          E-mail address :colloque.formation.acteur at uqam.ca
          Web site: http://www.er.uqam.ca/formation.acteur

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.
Nine sessions and round tables have been scheduled to discuss specific
questions related to theatre teaching:

Session I:Fundamental Issues in Theatre Training
Session II:Training Pre-requisites
Session III:The Technical Foundations of Training
Session IV:Parallel Training Programs I
Session V:Parallel Training Programs II

               Session VI: From Training to Professional Life: The
               Impact of Economic Conditions on Training

Session VII:What Type of Training for What Kind of Theatre?
Round Table:Director as Pedagogue
Round Table:Actors as Pedagogues

     Participants
     * Bayerische Theaterakademie (Allemagne)
     * Hochschule fur Darstelland, Kunst " Ernst Busch " (Allemagne)
     * Folkwang-Hochschule Essen (Allemagne)
     * Conservatoire de Liège (Belgique)
     * École nationale de théâtre du Canada (Canada)
     * Primus theater (Canada)
     * Banff Center (Canada)
     * Département de théâtre , UQAM (Québec)
     * Le Dojo pour acteur de Pol Pelletier (Québec)
     * Conservatoire d'art dramatique de Québec (Québec)
     * Institut del Teatre, Diputacio de Barcelona, Escola Superior d
     Art Dramatic (Espagne)
     * Conservatoire National de Paris (France)
     * ENSATT, Ecole nationale supérieure des arts et techniques du
     théâtre (France)
     * ESAD, Ecole supérieure d art dramatique du Théâtre national de
     Strasbourg (France)
     * Conservatoire national de région de Bordeaux (France)
     * Conservatoire national de région de Montpellier (France)
     * Ecole de théâtre du Théâtre national de Bretagne (France)
     * Ecole du Centre dramatique national de Saint-Etienne (France)
     * Ecole régionale d acteurs de Cannes (France)
     * Le Jeune Théâtre national (JTN) (France)
     * Ecole internationale de théâtre Jacques Lecoq (France)
     * L'ARTA (France)
     * Civica Scuola Paolo Grassi de Milan (Italie)
     * ICRA International Centre for the Research of the Actor (Italie)
     * Istituto Internationale per la Ricerca Teatrale (Italie)
     * London Academy of Music and Dramatic Art (LAMDA) (Royaume-Uni)
     * School Physical theater et Theatre Complicité (Royaume Uni)
     * Laban Center London (Royaume-Uni)
     * Conservatoire de Genève (Suisse)
     * Conservatoire de Lausanne (Suisse)

Registration and Information :
Josette Féral
Département de théâtre
Université du Québec à Montréal
C.P. 8888, Succursale Centre-Ville
Montréal (Québec) Canada H3C 3P8

Phone : (514) 987-3000, extension 3255
Fax : (514) 987-7881
E-mail : colloque.formation.acteur at uqam.ca

In Paris :
CCIFQ
a/s Joëlle Touroude
96, boulevard Raspail
75006, Paris

Phone : 01 42 84 50 82

 PROGRAM STRUCTURE

Session I: Fundamental Issues in Theatre Training
Some fundamental questions to begin with: what is acting? What is
involved in the teaching of acting? What are the fundamental issues of
todays 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?

Session II: Training Pre-requisites
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?

Session III: The Technical Foundations of Theatre Training
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?
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?

Session IV: Parallel Training Programs 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?

Session V: Parallel Training Programs II
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?

Session VI: From Training to Professional Life: The Impact of Economic
Conditions on Training
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?

Session VII: What Type of Training for What Kind of Theatre?
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?

Round Table: Director as Pedagogue
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?
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?

Round Table: Actors as Pedagogues
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?

 -----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
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