I can accept 15 artists combining music, dance, physical theater, vocalist, text artist or actors to participate in the entire four weeks of my workshop. I can also accept registration for days or weeks at time with no more than 20 in the studio on any given day.
€45 per day / €145 per week / €500 for four weeks
Music Theater workshop
I have been been investigating theater, dance and music with live performance for 35 years. I take a microscopic view on the role improvisation plays in real time performance combining my background in the performing arts with my curiosity for advances in brain studies, music , text. object-figure and movement research. I have worked with music artists from various backgrounds, acoustic, electronic, jazz, traditional, modern music and punk, who share my passion for multi disciplinary real time performances. I have worked with directors, actors, vocalist, dancers, and physical theater artists from various backgrounds in companies, troupes, solo and ensembles. I have included text in my performances since the 70’s with an ear on how this can integrate musically as well as produce an objectified meaning of events. I have included the use of object in relationship to figure since my early work in Italy in the 80’s. These experiences allow for me to distinguish a music theater platform for multidisciplinary performances. I accept artists from all performance art and music backgrounds without prejudice concerning technical skills or esthetic boundaries.
I guide performers through physical exercises that highlight how the eyes and ears affect movement choices using my research in developmental brain studies about “why we learn to walk”. I set up exercises for the musicians, text artists and vocalist during the physical work to challenge their ability to create “a band” instantly and to be aware of how space is shifting with bodies involved. Musicians and performers can choose to change roles in these exercises at any given time. I extend the workshop towards improvisation sessions by setting a fictional front in the studio space and then declare this as a platform to choose pause, flow or exit. All three of these choices are intensive studies on their own. I spend time on the study of pause, flow and exit separately through out the workshop in order to reinforce the debt of each of these areas and how it effects on the performer, composition and tension in the space. I highlight how the limit of these three choices can already provide the frame for a composition to take place, and that misunderstanding, coincidence, live time, interactivity, messiness, emotions, intuition, impulse and inspiration are basic in a creative process. These raw materials are integrated with the combined fact that everyone in the workshop group can make a choice. The improvisation sessions are given a delegated time frame with an option for the workshop group to shift, drop or lift the space at will. The responsibility to shift, drop and lift the performance space places each individual in a position to be to be fully awake or they will recognisably loose the thread of the creative activity in play. The practice of an individuals development of presence is a critical process in the workshop be it in music, text, movement, figure-object or vocals. I use games to set an example for building and dropping the tension in the theater and/or musical space by way of an individuals presence with an emphasis on states of mind in performance such as vulnerability and expressionism. Choice is introduced to the workshop group as a compositional reality but also as allows for individuals to elect to participate in the performative or as a viewer and yet remain involved in the process. The aim is to gather the workshop group to recognize that, in a creative composition process, time is passing at different perceived speeds and that space is shifting in several dimensions at once. This awake fullness promotes individual performance presence, compositional alertness and an appetite for creativity.
Every day we will practice and engage with all of the aspects available to us in the theater music platform. I will center on one area of study as a theme for research, feedback and reflection each week. If you are doing the full four week workshop you can take advantage of building this study. If you are electing to do weeks or days at a time, you can choose which area of study is of the most interest for you.
Week 1 July 24 to 28 / tension – sound – body
Week 2 July 31 to August 4 / music – body – text
Week 3 August 7 to11 / music – object – figure
Week 4 August 13 to 18 / mix of all the areas
I will be inviting guest music and text artists to join me in the workshop concerning the study involved. (TBA)
BIO – Katie Duck
I am a performer maker and teacher since the early 1970’s. I have placed improvisation as an intricate element in how to compose and perform with musicians, dancers and actors internationally such as Derek Bailey, Tristan Honsinger, Steve Paxton, Dario Fo, Carlos Traffic (among many) for 35 years. My career has included independent teaching, University teaching, set choreography’s, structured improvisations, music and dance real time performances and live streaming international performances. I have initiated courses, workshops, festivals and monthly performance series in my three bases Italy, England and Holland. I have led dance companies, dance/music companies, created solos, written text for my performances as well as critical articles. I continue my vocational research in theater, music, dance, text and performance alongside studies I have conducted in social studies, cultural studies, brain studies and neuron science. I believe that my research must not be validated by academic speak alone but rather by my insistence to take part in my chosen practice of real time theater in no matter what country or period of time I am living in. I am a feminist traveling through the 60’s to present day as both witness and participant. Distressing events occur daily in languages that reflect sport metaphors defining winners and losers tucking our feelings in a pocket of our consciousness until eventually panic attack grips the spirit and anything social seems beyond reason. The human condition to feel what we see and hear is numbed, boxed away in the normal. Emotions are messy. We need art. Creativity is messy. Art is 80% observation.
Follow this link to find my research material=What I like