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04. bis 05.05.2019 Movement Research / Improvisation / Composition - Music Theatre  
with Katie Duck  
12.00 bis 15.00 Uhr im DOCK 11 Theater  

Movement Research / Improvisation / Composition - Music Theatre

Movement Research / Improvisation / Composition - Music Theatre

 

Dates: 4.+5. May 2019, 12-15 h

Place: DOCK 11, Kastanienallee 79, 10435 Berlin, Theater

Price: €100 for both days / €60 for one day / four hours per day

Registration:  katie@katieduck.com
 

For musicians / actors / dancers / performance artist

I guide performers through physical exercises that highlight how the eyes and ears affect movement choices.  I use lecture materials form met research (The developmental Brain (“Why we learn to walk”) alongside exercises and games to engage the student physically, exploring emotions, feelings, intuition and empathy as a means to support “Dance and/or creative movement is fancy walking”.
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. I highlight how the limit of these three choices can already provide the frame for a composition to take place, and that misunderstanding, coincidence, real time, interactivity, messiness and inspiration are basic in a creative process. 
These raw materials are integrated with the combined fact that everyone in the workshop group can “choose”. 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 practice of an individuals development of presence is a critical process in the workshop be it in movement, figure-object or vocals. I use games to set an example for building and dropping the tension in a music theatre space by way of an individuals presence with an emphasis on states of mind in performance, such as vulnerability and expressionism. “Choice as Chance” is introduced to the workshop group as a composition reality in how it 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 recognise that, in a creative composition process, time is passing in different perceived speeds and that space is shifting in several dimensions at once. This awake fullness can promote individual performance presence, composition alertness and an appetite for creativity.
Every day we will practice and engage with all of the aspects available to us in a music theatre platform. I will centre on one area of study in lectures, practice, feedback and reflection each day; sonic — tension —  body /  music — body —  text / music — object — figure
 


Katie Duck
I have been teaching since I began to perform professionally in the mid 70’s. I am dedicated to how process and research play a major role in how one can continue to be artistic in how they approach their life and their work.
I have had the possibility to create material for my workshops out of a wide range of practices in the performance arts. I have never formulated my teaching material into a frozen body of knowledge. I do not believe that the accumulation of knowledge is how one becomes a teacher. I believe that It is out of my practice and the practice I witness with a students, that all knowledge becomes clarified in the lessons I am leading.
Now in my 60’s, I have been teaching workshops internationally and in University systems for over 35 years. My enthusiasm for young artists to be able to initiate their practice is shown in how I have continued to stay connected with new technologies, new research in the physical sciences, economic and political issues, in relationship with the performing arts and music fields.
The professional field of the arts has altered drastically in comparison to when I  began my practice in the mid 70’s. As part of my teaching, I encourage young artists to devise strategies that allow for them to sustain research and creativity in the production of their work and yet survive.
In my workshop, I take a microscopic view on the role improvisation plays in a live performance combining my background in the performing arts with a curiosity for advances in brain studies, music and movement research. In my MUSIC THEATRE workshop I place my background working with improvisation musicians since the 70’s , my theatre background since childhood, my dance background since the 70’s and a my passion to bring multidiscipline practice back into the foreground of real time compositions and scoring for live performance.


 

 

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