|11. bis 12.04.2020||Music Theatre Workshop|
|with Katie Duck|
|12.00 bis 16.00 Uhr||im DOCK 11 Theater|
Music Theatre Workshop
Dates: 11.+12. April 2020
Place: DOCK 11, Kastanienallee 79, 10435 Berlin, Theater
For Musicians, dancers, actors, poets, singer and performance artists
12:00-16:00 €100 two days / €60 one day
Katie Duck Music Theater
I have been investigating theatre, dance and music with live performance for 35 years. I take a microscopic view on the role improvisation plays in the creation process combining my background as a maker and performer with a curiosity for advances in brain studies. I have worked with music artists from various backgrounds who share my passion for interdisciplinary real time performances. I include text and objects in my performances with an ear on how this can integrate musically as well as produce an objectified meaning. My study and practice of the body is the glue for how I combine all aspects of the performance arts.
I guide performers through physical exercises that highlight how the eyes and ears effect movement choices using my research in “why we learn to walk”. I set up exercises for musicians, text artists and vocalist during the physical work that challenge their ability to create “a band” instantly. Musicians and performers can choose to change roles in these exercises at any given time.
Creativity is messy. Three choices arise out of the messiness; Pause Flow and Exit. Each of these choices are a mountain of study and each of these choices are shared in the space under the guidance of the performer/artists relationship to their public.
I extend the workshop towards improvisation sessions setting a fictional front in the studio space and then declare this as a platform to choose pause, flow or exit. These three choices provide the frame for a composition to take place while misunderstanding, coincidence, messiness, emotions, intuition, impulse and inspiration feed the content.
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. That responsibility places each individual in a position to be fully awake or they will recognisably loose the thread of the creative activity in play.
Individual development and understanding of presence and tension is critical in this workshop be it in music, text, movement, dance, figure, object or vocals. We amplify how tension reveals presence playing games I have invented that encourage vulnerability and/or expressionism.
In the improvisation sessions, individuals can elect to participate in the performative or as a viewer (front). The aim is to gather the workshop group in a creative composition process with an awareness that time is passing at different perceived speeds and that space is shifting in several dimensions at once. This awake fullness promotes individual composition alertness and an appetite for creativity.
Major questions introduced to the group “What is your relationship to public? How does that relationship formulate the way you compose your work”?
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.