Arturo Schauspielschule, CologneThe ensemble interpretation of ancient and contemporary words and music
The key topic is split into two subtopics. "Ensemble Interpretation of Ancient and Contemporary Words and Music". The first one will be a demonstration of small ensemble fragments from the Antiquity and the contemporary world performed by students of the National Academy of Theatre and Film Art in Sofia, as a ready creative result. The second part will focus on the participants, to whom the practical achievement of that result will be demonstrated.
The interesting thing in this case is how in fact the composer, author of the score or the sound background manage to implement their creative urge provoked by a given play from the theatrical tradition in their work with the cast members. That is why I would like to add to the workshop’s key subject that we carry out the whole mechanism of implementing the complete creative process together with the participants within the span of 60 minutes. That includes the introduction of the composer to the cast members, the preparatory introductory exercises, presentation of the music and theatre score prepared in advance, a rehearsal until the final sound recording and the transformation of the entire working process into a real creative product. Funny why this is so?
There has been no strictly established system to that effect. One of the reasons for this is probably the creative nature of the stage managing process itself, which is strictly individual. On the other hand, besides the qualities of an accomplished musician, the composer ought to have profound knowledge and aesthetic feeling in the field of theatre art. They should know very well the actor's voice as a key means of expression that carries also rational messages and causes an illustrative and emotional impact.
There are various approaches, techniques and sets of exercises that assist the actors in getting to know and developing their vocal and performing skills. In their work on certain creative assignments depending on the age and style of the playwright tradition, I recommend that we hold warm-up singing exercises that will prepare the performers for the sound specifics and peculiarities of the ready music score.
Within the meeting’s framework I shall direct the attention of the participants to means of forming and controlling ensemble sound. The workshop is 100% practical and does not require preliminary training.
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