CHOPT LOGIC PRODUCTIONS 2018 WORKSHOPS

ADELAIDE WEEKEND INTENSIVE

VIEWPOINTS AND DEVISING WORK – With Tina Mitchell

DATES AND TIMES: Saturday September 8 to Sunday September 9, 2018 from 10am-5pm.

COST: Full $225 or Earlybird $200 if payment is received by July 8th. (10% discount for returning students)

VENUE: Finsart Studio, 4/14 Grenfell St. Adelaide 5000.

This 2 day immersive workshop will give participants a comprehensive understanding of the Viewpoints and how to apply the vocabulary to the creation of devised work. Ideal for performers, theatre makers or teachers looking for a new approach to group performance building. Over the two days participants will undergo an in depth exploration of the Viewpoints as an ensemble building, improvisation practice and develop a practical language and process for creating dynamic stage moments.


SYDNEY SEPTEMBER WEEKEND INTENSIVES

1. VIEWPOINTS and PHYSICAL ACTOR TRAINING for performers

with Tina Mitchell and Shane Anthony

DATES AND TIMES: Saturday and Sunday September 15th – 16th, 10 am - 5 pm.

VENUE: International Screen Academy, 242 Young St, Waterloo NSW 2017

COST: Full $295 or Earlybird $275 if payment is received by July 13th, 2018. (10% discount for returning students.)

Description:

This weekend workshop will provide artists with an exciting approach to acting and stagecraft. A practical weekend workshop, in which participants will train in the core principles of Viewpoints and Laban Movement Analysis and examine their application to staging classic and contemporary texts. Ideal for performers and theatre makers who want to hone their physical and vocal expression and discover the full expressive potential of the actor’s body. Morning sessions will focus on an introduction to Viewpoints and Laban, while afternoon sessions will focus on applying the training as rehearsal tools.

2. VIEWPOINTS and DEVISING WORK for teaching artists

with Tina Mitchell and Shane Anthony

DATES AND TIMES: Saturday and Sunday September 22nd – 23rd, 10 am - 5 pm.

VENUE: International Screen Academy, 242 Young St, Waterloo NSW 2017

COST: Full $295 or Earlybird $275 if payment is received by July 13th, 2018. (10% discount for returning students.)

This weekend workshop will give participants a comprehensive understanding of how to apply the vocabulary of the Viewpoints to the creation of devised work. Ideal for teachers looking for a new approach to group performance building. Over the two days participants will undergo an in depth exploration of the Viewpoints as an ensemble building, improvisation practice and develop a practical language and process for creating dynamic stage moments. During morning sessions participants will be introduced to the individual Viewpoints and investigate the elements of time and space to make bold and considered theatrical choices. Afternoon sessions will focus on applying the Viewpoints vocabulary as staging tools to create devised work using task based activities and innovative approaches to dramaturgy. 


VIEWPOINTS 

Viewpoints is an improvisational performance method which evolved from post modern dance. Its founder, Mary Overlie, used the method as a structure for dance improvisations. She broke down the elements of performance into the categories of time and space. Further developed by Anne Bogart and the SITI Company, Viewpoints is used to build a strong ensemble, create dynamic stage moments and as a practical directing language.

The Viewpoints is a technique of improvisation that grew out of the modern dance world. It was first articulated by choreographer Mary Overlie, who broke down the two dominant elements of performance - time and space. Her approach has since been adapted for actors by director Anne Bogart and the SITI Company. The Viewpoints are used as an ensemble-building tool, to give performers an awareness of the power of their physical expression and to create dynamic stage moments.

LABAN MOVEMENT ANALYSIS

A systematic approach to breaking down the elements of movement. The technique mirrors many aspects of Viewpoints and can be used in the creation of both physical choreography and characterization. The underlying principle of this method is that our conscious and subconscious behaviour is reflected through our movement and gestures. Through the Laban effort work a performer can explore a range of movement qualities that can be practically applied to characterization work.


ABOUT THE TEACHERS

Tina Mitchell

Tina Mitchell is a New York based theatre artist and works internationally as an actor, director and teaching artist. She has trained with the SITI Company for over 10 years and was their Artistic Associate from 2011-2013. Tina has performed with SITI and was Assistant Director to Anne Bogart on their production of Antigone. She has also trained with the Suzuki Company of Toga and has taught at international institutions including Atlantic Theater and NYU in New York, The Adelaide College of the Arts, Flinders University, and the University Javeriana in Colombia among others. 

Tina’s performance aesthetic fuses stylized movement, music and text. As a practitioner she is interested in the interrelation between physical and psychological approaches to acting and how the physical training of Suzuki and Viewpoints can inform a range of performance styles from the naturalistic to the abstract. Tina has worked with many world renowned companies including; The Metropolitan Opera, Punchdrunk in the Off-Broadway hit Sleep No More, SITI Company, La Fura dels Baus, The English National Opera, Collegiate Chorale at Carnegie Hall and her own work has been produced in major international arts festivals across Colombia, Italy the United States and Spain. For more information visit www.tinacmitchell.com or www.miss-julia.org

SHANE ANTHONY

Shane works as a director and producer in Australia and overseas.Select recent directing credits include The Curious Incident of the Dog in the Nighttime (Movement Direction) for The Court Theatre (New Zealand), The Whale for Redline Productions at The Old Fitz Theatre (Nominated for eight Sydney Theatre Awards in 2016), Lighten Up by Nicholas Brown and Sam McCool at Griffin Theatre, Songs for the Fallen at the New York Musical Theatre Festival (Winner of Most Outstanding Show), Sydney Festival, Arts Centre Melbourne, Brisbane International Arts Festival and The Old Fitz, Pornography by Simon Stephens for NIDA, Altar Boyz for Fortune Theatre (New Zealand Premiere), Calendar Girls for Fortune Theatre (New Zealand), Doctor Faustus for RCHK (Hong Kong), Mrs Bang: A Series of Seductions for the 32nd Stage Song Festival (Poland), Often I Find That I Am Naked for Critical Stages ( Australian National Tour), Avenue Q for Fortune Theatre (New Zealand), My Name is Rachel Corrie for La Boite Theatre (Brisbane), Orestes, Trojan Women and Radio Hysteria for NIDA Open, The Crucible for RCHK, Motortown for 23rd Productions (Nomination Best Show Matilda Awards). He worked as movement coach on the Australian feature film, Sleeping Beauty, and in 2009 worked as show director for CIRCA on their European tour of CIRCA ‘09.

In 2007 he travelled to New York to continue training with Anne Bogart and the Saratoga International Theatre Institute in Viewpoints and the Suzuki Method of Actor Training and in 2012 he received a Mike Walsh Fellowship to attend the New York Film Academy. He was a company member of Australian Physical Theatre Company Zen Zen Zo from 1999 – 2008 training extensively in contemporary Asian performing arts.

He is a graduate of the Directing Program at the National Institute of Dramatic Art (NIDA, Sydney), Screenwriting for Feature Film at the Australian Film, Television and Radio School and has also completed a BA in Theatre Studies at Queensland University of Technology (QUT).