culture monks theatre education for adults

Culture Monks & The Doodle Room is happy to bring to you a weekend theatre education program for ages 17 and above.

Mentored by highly committed, experienced & qualified theatre , music and visual arts practitioners, this module draws from the teachings  of Natya Shastra, Konstantin Stanislavski, Jerzy Growtwoski, Anne Bogart and well as from  years of practice.

The program will work on all aspect of the students including his voice, body and emotions., through a combination of theoretical and practical knowledge sharing and exercises.

This one year program is divided into 3 modules of 4 months each.

At the end of each module the students will be assessed on the basis of their performance.

We will end the program with a theatre production. certificates will be given out at the end of the program.

We will also be happy to connect the students to film projects for auditions.

Details

Venue : Doodle Room , Ballygange Phari

Date & Time : Every Sunday from 4 pm – 6 pm.

Language : English, Bangla and Hindi

Fee :  Rs. 2500 per month

Connect @ +91 8697919308 for registration

On Theatre Education by Raja Chakraborty

The actor then found that to  communicate his invisible meanings he needed concentration, he needed will, he needed to summon all his emotional reserves,he needed courage, he needed clear thought- Peter Brook.

The Buddha talks about the  inner golden rule:

Watch your thoughts, they become words.
Watch your words, they become actions.
Watch your actions, they become habit.
Watch your habits, they become character.
Watch your character, for it becomes your destiny.

This is one of d focus of the theater education program – human making.

Also, Shiksha (education) becomes effective when it is done with due Diksha (respect,humility). For education is not a mere process of sitting near the teacher and listening to her. True education involves active participation in the process of evolution of ideas.

Art is that human activity which consists in one man’s consciously conveying to others by certain external signs, the feelings he has experienced,and others being infected by those feelings and also experiencing them.

The good is that which no one can define, but which defines everything else- Leo Tolstoy.

Art in our time can be  and is of two kinds:

1.Religious art : which conveys feelings coming from a religious consciousness of human position in d world with regards to God and his neighbor.

2 Universal art : which conveys the simplest everyday feelings of life such as are accessible to everyone in the world.

True science studies and introduces into human consciousness the truths and the knowledge which are regarded as most important by the people of a certain period and society. Art transfers these truths from the realm of knowledge to the realm of feelings.

Acting is not about mouthing some lines..it is about becoming and reaching goals. Thought and character are the two natural courses from which actions spring and on actions all success or failure depends.

Great performances exude both exactness and a powerful sense of freedom. This freedom can only be found within certain chosen limitations. We should use theatre to question the limits and boundaries of human experience.as a director or an actor your biggest contribution to a play and the only real gift one can offer is attention.

What counts most is the quality of the attention. Attention is an action and it can be learned and practiced. It is a way of touching the world.

Composition in the theatre is writing with your feet,with others, in space and time,using d language of theatre. The actors job in the workshop room is to articulate rather than to please.

An actor is faced with a dilemma- the choice to discharge or concentrate experience. It is easy to discharge.you just let it go, spill it. Whenever you feel overcome. A good actor understands the necessity to concentrate on the irritations, the random feelings, the difficulties,the infatuation,everything that occurs from moment to moment and compress them, let them cook and find the appropriate moment for clear and articulate expression. Your attitude towards resistance determine the success of your work and your future.

The Program Content

  • Introduction to different theatre theories and practices
  • Conditioning the body mind for acting
  • Theatre games
  • Voice training
  • Movement Training
  • Scripting
  • Singing
  • Improvisation
  • Space Design
  • Understanding stage lighting

About the Mentors

Raja Chakraborty

Raja Chakraborty has trained in theatre at the National School of Drama., New Delhi

He is a very experienced and accomplished  theatre actor/director , a film actor & a theatre/acting coach.

He has led  several theatre based intervention projects for the United Nations.  Raja has been conducting theatre education programs around the country and has also worked with Prithvi Theatre, Mumbai.

As an actor his films have won great recognition at International Film Festivals.

Janardan Ghosh

Janardan Ghosh is a theatre & film actor & director.

His recent films as an actor are Darkness Visible (2019) and Kayantar (Metamorphosis) (2019).

He has trained & attended workshops by prominent theatre practitioners like Badal Sircar,  Wolfgung Kolneder (Grips Theatre, Berlin), Anna Helena McLean, Parnab Mukherjee, John Retallack (Company of Angels, UK) and Royal Shakespeare Company (UK), Subhasish Sarkar (Taranga), Jayati Bose (Sutrapat), Anjan Datta (Open Theatre), and Anjan Dasgupta (Nabanatyam).

He writes articles on Education, Performance and Spirituality for NIE, Times of India and conducts workshops for actors, students, teachers and executives and is presently doing an academic research on “Acting as a Spiritual Discipline” from RKM Vivekananda University, Belur as a Research Fellow and Teaching Assistant. He is freshly working on Bhool Rasta, a play by Badal Sarcar. He was invited by ZID Theatre, Amsterdam for a Summer Project to read a paper on Experimental Indian Theatre, and he also represented India as an Artist in the Connecting Classrooms programme in UK (Stratford-upon Avon), for a seminar on Shakespeare for Students hosted by Royal Shakespeare Company and British Council.

Pradip Chattopadhyay (Bulada)

Pradip Chattopadhyay is musician, performer & a sound artist.

He has been the founding member of Ḿohiner Ghoraguli´ which has been an iconic rock band in Bengal. An civil engineer by training, he has traveled the world to perform and work. He is a prolific performer and is passionate about his experiments & research in sound and performance .

Bulada will be working primarily on musicality and sound.

Parnab Mukherjee

A spoken word performer, independent media analyst, curator and a performance consultant by profession, Mr Parnab Mukherjee is one of the leading alternative theatre directors of the Indian sub-continent.

A performance text writer and charismatic performer, he has diverse experience in non-proscenium, verbatim, site-specific and physical theatre.

Parnab is multilingual & a prolific traveler. He is a subject matter expert on North East India studies at Colombia University, USA. He works on several United Nations projects as a performer dealing with human rights.

Saikat Surai

Saikat Surai is a Crossmedia practitioner based in Kolkata, whose work stretches across videos, installations, print-making, animation and painting. He is also a relentless designer who has designed major architectural projects, namely the Kolkata Movietone Studios, Kolkata, among other things.  Saikat is currently a mentor at Art1st, a leading Indian organization for Visual Arts training across the country.

Saikat will be conducting sessions on aesthetics and design.

We will also be joined with specialists who would be working with voice, concepts, art direction,  performance  theory and movement based training.

Inquiry Form

 

 

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