THE PERFORMING BODY AND THE LIVELY SPACE — an introduction to physical theater
MARCH-APRIL 2025
Globus Hystericus offers a 66-hour training on principles of performance from a physical perspective. Inspired by a pedagogical lineage that runs from Suzanne Bing to Giovanni Fusetti (and further forward and further backward), this training will explore the fundamental elements of performing, those that exist before genre and style. This is not a training on clown, commedia dell’arte, melodrama, tragedy, or any other finalized form of theater. This is a training of movement analysis, observation, mimesis, and play as essential tools of the performer-creator.
This training will sharpen the participant’s awareness of their performative body.
As that awareness increases, so will the opportunity to break old habits and discover new avenues of expression and play.
The central reference point in this training is the human body and its relation to the space around it.
And yet from this reference point, we will extend farther and farther out into the theatrical space, ultimately taking in non-human forms and events.
Movement analysis and the stories our bodies tell
We begin by examining how the choices made by a body during a performance immediately upstage any other “rational” or “psychological” explanation of the performance. We humans instinctively know a lot about body language, and yet we are very often unaware of the effect this knowledge has on us. It is an "unknown known,” as Žižek put it, a thing we don’t know that we know. The work on movement analysis uncovers this knowledge for us and offers us an increased awareness of our performative bodies.
Neutrality and the silent body
Movement analysis calls for rigorous observation, and theater calls for rigorous play. This rigor requires a kind of openness of the artist, an ability to see clearly and an ability to play and replay accurately. A silent mind can see clearly. A body available to transformations can transform. We use the neutral mask to expand the possibilities of the performer—to clear the mind and render the body a “blank page” on which accurate imitations can be played. The work on neutrality deepens the awareness that movement analysis offers us and opens the door to other possible dimensions of physical expression.
Mimodynamics: observation and replay
In traditional Lecoq pedagogy, a significant part of the first year of training is dedicated to mimodynamics, the art of imitating and replaying various forces in the world. Replaying a movement dynamic can mean playing a person, an animal, an object, a place, a time, or even a feeling. Can a performer, using just their body, convincingly recreate a forest on a winter’s night?
As a technique, mimodynamics propose that performers focus their creativity on the world outside of themsleves. In this sense, the method attempts to transcend the limitations of personal psychology and open the doors of perception and creativity to a larger world. We observe the movement of a paper bag, the movement of the wind, the movement of the color yellow, and then the performative body plays it in theatrical space. The work on mimodynamics offers a “buffet" of performative altered states and an opportunity to overcome known habits of play and enter into new modes of expression.
PRACTICALITIES
The training includes 4 weekend intensives and Monday evening vežba classes. All weekend intensives are 10-17 Saturday and Sunday. All vežbe are Monday evenings 18-20.
March 17: Vežba
March 22-23: Intro
March 24: Vežba
March 29-30: Neutral mask
March 31: Vežba
April 7: Vežba
April 12-13: Mimodynamics I
April 14: Vežba
April 19-20: Mimodynamics II
April 21: Vežba
Please note that participants are expected to attend the entirety of the workshop. The structure follows a carefully planned sequence. Exercises build upon the lessons of previous exercises. To fully appreciate the work, one must experience the pedagogy as it is intended, as a continuum. If for some reason you have a scheduling conflict and still wish to participate, contact us, and we can discuss it.
The workshop will be taught in English and/or Slovene.
The workshop will take place in Ljubljana, the exact location will be announced at a later date.
Early Bird Tuition: 300-400 €, if the deposit payment is sent before 17.02.2025
Full Tuition: 400-500 €, if the deposit payment is sent after 17.02.2025
With the sliding scale, we hope to enable the participation of creators with different financial capabilities. When registering, please indicate the amount you have chosen to pay.
Once accepted, to confirm the enrollment, a deposit of 150 € is due. Please note that the deposit is non-refundable in case of non-participation.
The entire payment must be made by the beginning of the program. You can of course make the entire payment at once, when your application has been accepted.
Once the application is accepted, spots in the class will be given in the order the application was received.
The class will be confirmed as soon as it reaches 6 participants. Once 12 participants will be confirmed, the workshop is full, and a waiting list will be created.
APPLICATION DEADLINE 03.03.2025
If by this date the minimum number of participants will not be reached, the workshop will be cancelled and all paid tuition will be refunded.
Once the workshop will be confirmed, participants will receive a message containing further practical details about the workshop.
INFORMATION AND APPLICATIONS
For further information about the workshop and to apply, contact us at info@globus-hystericus.org.
TEACHERS
Anja Bezlova (SLO) is a renowned street theater performer, a member of the international theater group Globus Hystericus, she also works with other Slovenian street companies, such as Gledališče Ana Monro, Priden možic and Kolektiv tretja roka. Since she graduated from the three-year school of contemporary theater production Helikos in Florence, she is well acquainted with the teaching methods of Jacques Lecoq, which she uses both in the projects in which she participates and in mentoring and teaching.
Justin Durel (USA, SLO) is an independent theater maker who has worked as an author, director and actor in many projects in Europe and North America. Since 2013, when he completed the three-year education at the Helikos International School of Physical Theater in Florence under the mentorship of pedagogue Giovanni Fusetti, he has been developing his pedagogical vision. Building on the legacy of Jacques Lecoq, he explores theater and performance through movement analysis, with an emphasis on finding the balance between technique and play. As a teacher, he teaches in Europe and North America.
Alenka Marinič (SLO) is a graduate philosopher and historian and an independent creator in the field of performing arts. She is a founding member of the Narobov collective. As an actress and co-author, she works on television (Štafeta mladosti, Podstrešje, Kaj ogluža - TV Slovenija), on radio (Radio Študent, Radio Gaga - Radio Slovenija), in film (Nothing new, nothing shocking, Videno) and collaborates with various directors and creators . In addition, she teaches theatrical improvisation, clown elements and physical theater in Slovenia (ŠUGLA, Pripovedovalski Variete, Goli oder, Zavod Bob) and abroad (Canada, Holland, Germany, Italy, Austria, Ireland, USA, etc.). She also works in various clown projects (Red Nose, Za Crknt). In 2013, she completed a three-year physical theater study program at the Helikos International School in Florence.