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AIDA-LÉMAN - ART  EDUCATIF 

"IF THE THEATER IS INDEED THE LABORATORY OF GESTURES AND WORDS OF SOCIETY, IT IS BOTH THE PRESERVER OF OLD FORMS OF EXPRESSION AND THE ADVERSARY OF TRADITIONS"

Antoine Vitez

The theater is both the place where we meet to share emotions and to develop them through what is given to see and hear on a stage.
The 
drama department offers training in acting techniques allowing the approach of this art of the present, of meeting and listening.

By encouraging creativity, we explore the texts of yesterday in order to invent those of tomorrow on the basis of classical pieces.

While taking into account contemporary writing, such as interdisciplinarity and observation of the world, our training is complemented by more tailored stage work sessions and courses and workshops that open up other theatrical practices and aesthetics (singing, dance, energy arts). We also offer interdisciplinary workshops that bring together students from different departments around various artistic practices: dramatic writing, mask work, puppetry, stage writing and staging.

Studies are structured into three cycles of amateur training and one specialized cycle. Each cycle, with its own precise educational plan, constitutes a flexible period of training that allows students to acquire the expected skills at their own pace of learning. is open to all those who wish to discover, by practicing it, the art of the actor.

RACE

Through an open approach to theatre, the teacher's lessons are based on the collective practice of acting and on discovering and exercising the fundamentals of the actor (body, voice, space, work with the text).

This aims to develop a collective spirit and a critical and well-disposed view towards the work at hand.

WORKSHOP

The workshop allows the various technical elements covered in the courses to be used for creativity, acting and play.

Unlike the course, the workshop is not a succession of exercises, but a space and time entirely devoted to a theme or aspect of poetry as a holistic art used for the preparation of stage and theatrical work.

Structure of weekly lessons

Introduction:

Sung vocal poetry – from 5 years old – 45 minutes

Preparatory:

Poetry and declaimed texts – from 7 years old – 60 minutes

Module 1:

Theatrical expression – from 8 years old – 75 minutes

Module 2:

Classic texts and techniques – from 10 years old – 90 minutes

Unit 3:

Group and personal project – cheese 15 – 120 minutes

Adult course – 75 to 90 minutes depending on the number of students

HORAIRES ART DRAMATIQUE 2023-2024

Initiation module:

Sung vocal poetry

Through specific exercises, the primary pedagogical goal is to define the meaning of theatrical play.

This implies that there is a code and rules.

We therefore learn to delimit the space of play, to understand the distinction between the moment when we play and the moment we watch, to agree to play with others, and for others, to clarify the distinction between playing with his friends in everyday life and play theater with his stage partners, for an audience, without getting caught up in his own game.All of this involves, first of all, the pleasure of acting and the knowledge of different techniques. A vocal and physical warm-up is then essential to prepare the body beforehand to enter into action for a theater lesson.

Module I (élémentaire) : Expression théâtrale

In recitation, the child expresses the project of others and his effort essentially consists of an exercise in translation and interpretation.

In improvisation, however, children start with a theme and need to come up with what to say and how to say it. This is a moment of creation.

From the introduction of the dramatic game, the student is neither an extra nor a spectator; he becomes an actor and participates in the game, with complete confidence.

Speech, it goes without saying, occupies an important part in the practice of theatrical performance (work on voice, sounds and noises, speech in situations, etc.).

Language is at the heart of theatrical expression.

Module II (medium):

Classical texts and techniques

Dramatic acting based on classical texts helps children to master different skills.

This includes body skills. For example, when acting out a fight, children learn to hold back the blows they are pretending to give. Or, during a mime exercise, when they attempt to make their hand, face or whole body expressive.A child who mimes a thief tries to make their whole body meaningful, not to escape the thief.Mastery of the body also means mastery of feeling .Students distance themselves from tears by miming tears, and they dominate their fears by acting them out.To give the appearance of emotions, they neither experience nor imitate them, but instead find the signs to play them out.By practising seeing and being seen , listening and responding, understanding and being understood, students acquire mastery of communication with others.

Group project and personal project

In this course, participants, having followed modules I and II, will develop a group project.

Each participant will be advised and supported in their creative process. With individual supervision, each individual will be given the opportunity to contribute the fundamental discipline of their choice in order to give rise to a collective artistic achievement. This will be done with the approval of the teachers concerned, if necessary.

The latter can take the form of a poetic recital, a play, a musical, or other, the objective being to put on a show in the form of transdisciplinary tableaux.


The purpose of this module is closely linked to the involvement and investment of the participants.

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