Master Classes are open classes that are offered free of charge and led by our visiting artists. They are provided for practitioners to refine and further their craft and understanding of their discipline.
This season Master Classes will be held by the following artists:
Please be reminded that capacities for Master Classes are limited. Once sign-up is open, attendees will be chosen on a first-come, first-served basis.
For more information, please contact firstname.lastname@example.org
October 15th, 2016 @ 1PM
Hiroaki Umeda’s class will be based on the Kinetic Force Method, his own movement method. It is not a dance technique, but more of a fundamental method to control movement of the human body.
This method will focus on how to stand and how to walk as well as how to use natural forces in the body, such as centrifugal and repulsion, by applying the technique of relaxing and tensing the muscles. This method can be applied to any dance and movement styles and will enrich movement vocabulary by increasing the amount of information each movement has.
November 5th, 2016 @ 1PM
The Masterclass, led by tg STAND founder, Frank Vercruyssen, focuses on STAN’s particular process and creation method. STAN places the performer in the centre and strongly believes in the principle of the sovereign actor: s/he is both player and maker. Nothing is rehearsed in the conventional sense of the word; the largest part of the rehearsal process takes place around the table. Once the choice of the play is made, the text is edited and retranslated to arrive at a new script. Only in the final days before the premiere do the players take the floor, but the idea really only comes to fruition when the spectators are seated in the hall. STAN nurtures a firm belief in the ‘living’ power of theatre: the performance is not a reproduction of something that is learned, but is being created anew every night, along with the audience. A STAN performance is therefore not a finished product, but rather an invitation to a dialogue.
STAN starts from the belief that theatre is not an elitist art, but rather a critical reflection on how all of us live; our beliefs, our concerns, our outrage. World Repertory offers – like no other – insight into the human condition and presents the keys with which to access the complexity of this world. STAN thereby often seeks the paradox of comedy: through humour and lightness, tragedy is often more palpable and more intense.
March 11th, 2017 @ 1PM
Participants : Advanced and professional contemporary dancers
As artistic director, I am interested in brut instinct, rhythm and the essence of human gestures. In other words, I am interested in the path and the energy the body needs to take in order to accomplish certain movements. I believe this is where true and authentic emotion (e-motion) emerges, and how dancers are able to retain their singularity and unique character rather than aiming for uniformity. In this lab, above all else, I want to meet other human beings – without any masks or artifices. The dancer does not play a role, he/she is him/herself here and now, sometimes vulnerable, sometimes strong, but always true. Even though my choreographic language requires a high level of technical training, it is the simplicity and the humanity in the execution of the sequences that I am seeking – I want dancers to trust the power of the movement itself, and ultimately let themselves be moved by it. Through technical exercises, we will prepare the body to use impulse and weight, and to isolated certain parts of the body through spirals, torsions, fouettés, arrachés, attacks, contractions and abandon. We will then explore different sections of the company’s repertoire, and especially partner work.