SENSORIAL THEATRE WORKSHOP

In our ordinary life sight and hearing are over stimulated, at times abused senses while touch, smell and taste, mostly able to bring us back to a grounded and primitive memory, are more and more overlooked. In the poetics of the Lemming's company all the five senses become the ways to experience theatre, not only as a cognitive practice, rather as a powerful and emotional one. Director and Ensembleworked over 20 years looking for the most accurate technique to prepare and build the actors. This research gave birth to an innovative pedagogical method, namely “The five senses of the actor”. Emotions are the fuel of the performer. How to raise them? How to guide them? Through listening to perceptions we appeal both to imaginary as to a profound connection with sincere emotions. Moreover the actor should learn how to lead the spectator through the scene, how to involve him, in order to produce intense feelings and physical reactions. Workshop’s participants often play blinded, and in couples. A mythological and oneiric background is used to set the improvisations proposed during the seminar.

Next dates:

Rovigo
Vicenza
Berlin

THE SPECTATOR'S THEATER

The spectator's theater is an unedited perspective in contemporary theater.
It is characterized by:
1. an intimate and personal experience for the audience;
2. a relation between the personal subjectivity and the myth universal models;
3. a deep emotional experience dedicated to the singular spectator or small groups of audience: an audience direct participation in the event is, for these reason, implied;
4. a space to habit and to lose in;
5. a relation constructed trough the body of the actor and the spectator both: the experience is although strongly sensitive – not only sight and hearing but also sense of smell taste and touch. All the five senses together reacting to create a dramaturgy of senses.
6. an aesthetic and sensuous universe allowed to be explored by the audience.

The Theatre of the Spectator is a theatre that:
1. is a deeply emotional experience for the audience;
2. is not a simple representation but became the personal experience of an event: I don't attend something but I live it;
3. is not dedicated for a shapeless crowd (the audience) but it is dedicate to every singular participant;
4. is able to redefine the role actor/spectator through their direct relation that became the experience focus;
5. considers the audience no more a nineteenth-century voyeuristic spectator, given that, nowadays, the paradigm of our citizen condition is similar to inert powerless spectators;
6. challenges the passivity of the audience that became the actor of the event: he often is the leading actor;
7. makes the theatrical event a unique, personal and irreplicable experience for every singular participant;
8. builds small rituals because it relies on the ritual, sacred and cognitive sense that is fundamental in the theatrical experience also;
9. gets back to a native theatrical practice able to induce people to became citizens of the world;
10. defines the actor's work like a gift of love towards the spectator, whit all the challenge, the mutual bare and the structural risk that these involves;
11. is able to redefine the use of the theatrical space, the performance is no more forward, but it looms me, it is in me and I live in it like in a universe in which I fall;
12. is able to redefine the time of the experience: it starts when the spectator book his participation and it broaden before the end trough the inevitable processing.