THE VOICE OF DIONYSUS
MILAN Teatro Ciro Menotti 23 - 26 Novembre 2016
Over the past 20 years, increasingly, we have developed a passion for techniques to enhance the sung and spoken voice. This strong passion has always been an indispensable artistic integration to our theatrical journey. In this regard, the meeting with Dr. Marco Podda was crucial: He is an otolaryngologist, speech therapist, composer, conductor and opera singer. This extraordinary artistic encounter has given us the great privilege of giving a scientific foundation to our vocal experiments.
During this long and adventurous journey we realized how difficult it is for the actors to focus on what are the best techniques to learn and to exploit their whole vocal potential.
The result? In general (with all the limitations that entails a generalization) the actors have a partial and rough knowledge of the anatomical and physiological structure of their otorhinolaryngoiatric apparatus, of the relationship between the latter and their body, and of how to keep the voice healthy and functional.
Our voice is unique. As our DNA. There is not a voice equal to another. With this intensive workshop, we hope to propose a trip to the actors that will lead them, at the end, to a more complete understanding of their capabilities, that they can create with us a training more suited to their warm up and strengthening sessions. Nevertheless, most of all, we would like to propose to the participants a journey in search of their real vocal potential, of all those territories that have not yet had the opportunity to explore for various reasons (psychological conditioning, false beliefs, fragile technique).
Together, we will make a journey in search of our lost voice.
"The ego affirmation sense devours our days. Art is emptied of its spiritual dimension. The sense of tragedy has become unknown. The body is erased. We are now definitely turned into consumers and, at the same time, products, shocked by an unprecedented media war in history. Fooled by our uniqueness, our peculiarities, actually, we all think the same way, we say the same words, we all have the same needs, the same hopes, the same anxieties, and the same daily routines, fabricated in series. We delude ourselves to be free. "The Bacchae" represents a window on the irrational, of an ancient world where there was real freedom of expression, of Dionysian possession, a reflection on the sense of the divine in our lives and on what it is removed, in our daily lives. The ancient word is a cry from another era, a call to reflection, to the awakening of the senses, an exhortation to look into it in other ways. We entrust the last remnants of irrationality and physical presence to Eros, illness and sleep moments. The Bacchae act in a state of mental automatism, a perpetual sleep; they are somehow "moved" by the God. Dionysus acts through them, through their bodies and their voices, transforms them and makes them a toll of sensuality, stupor, death, infinite sweetness and demonic ambiguity. The God somehow becomes a body and shapes their voices. The figures of Dionysus, Pentheus and Agave have an incredible dramatic stature. For an actor, this is an opportunity for an extreme work on vocality and physicality in relation to the tragic language".
The workshop is open exclusively to professional actors. A maximum of 20 participants and 10 auditors will be admitted. Selection will be on resume. The cost of the workshop is € 200 (including VAT). For auditors the cost of the workshop is € 120 (including VAT). Applications should be sent by e-mail at the latest by Saturday, November 19, 2016 to firstname.lastname@example.org.
For more information and to register: Melania Giglio 3883292528
WHERE AND WHEN
Teatro Ciro Menotti, Milan.
23 - 26 November.
We will follow the following schedule:
11:00 - 12:00: Training
12:00 - 13:30: Acting
13:30 - 14:00: Break
14:00 - 18:00: Acting
The daily work is organized in this way:
1) Theoretical concepts: anatomy, breathing, good vocal hygiene.
2) Complete Training: warm up, breathing, resonators, false cords, potential sound exploration, vocal improvisation.
3) Individual work. Application of the techniques studied in groups. Solving technical problems. Exploration of unexpressed potentialities. The laboratory focuses on the use of the vocal technique, the study of movement, interpretation, through practical exercises. These exercises will study:
The deep analysis of the text;
The definition of the relationships between the characters;
The use of rhythm in the Italian language;
The re-accentuation of the syllables for expressive use in the spoken voice;
The use of vocality;
The affective memory and emotional memory;
The tragic words;
4) Warming-down and final training.
Melania Giglio is an actress and a singer. She graduated from the Theatre School of the Teatro Stabile di Torino directed by Luca Ronconi. Simultaneously she continued working on her great passion: the spoken and sung voice, exploring techniques and schools having different approaches. This passion has led her to participate to important Musicals in Italy and abroad as "Hollywood" with Massimo Ranieri, or "Pene di cuore di una gatta francese" directed by Alfredo Arias, winner of the Molière Award for Best Musical Show in 2000. Among the many collaborations, we include those with the composer and speech pathologist Marco Podda, with Professor Oskar Schindler of Turin, the theater director Daniele Salvo, collaborations that have allowed her to fully explore all her vocal potential and to become one of the unmistakable timbres of the national theater panorama. She starred with important Italian and foreign maestros among which we remember Luca Ronconi, Peter Greenaway, Alfredo Arias, Giuseppe Patroni Griffi, Franco Branciaroli, Giorgio Albertazzi, Ugo Pagliai. In the cinema, she was the singing voice of the Queen Marissa in the animated film "The Prince of Egypt" produced by Dreamworks.